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TOSC  A 

AN  OPERA  IN  THREE  ACTS 
BY 

V.  SARDOU   -   L.  ILLIGA  -    G.  GIACOSA 

(English  version  by  W.  Beatty-Kingston.) 


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rose  A 

AN  OPERA  IN  THREE  ACTS 
BY 

V.  SARDOU    -    L.  ILLICA    -    G.  GIACOSA 

(English  version  by  W .  B catty-Kingston.} 


MUSIC  BY 


G.  PUCCINI 


ALL  RIGHTS  OF  PRINTING,  COPYING,  PERFORMANCE,  TRANSLATION. 

VOCAL,   OR  INSTRUMENTAL  ARRANGEMENTS,    ETC.,   OF 

THIS  OPERA  ARE  STRICTLY  RESERVED. 


Price  50  Cents. 


Copyright  1899,  by  G.  Ricordi  &•  Co. 
(English   Version)    Copyright   1900,  by  G.   Ricordi  &•  Co. 

PRINTED  IN  U.  S.  A. 


SYNOPSIS 


The  opera  is  founded  on  the  drama  by  Victorien  Sardou. 


ACT  I 

A  man  in  the  garb  of  a  convict  is  seen  stealthily  entering  the  Chjurch 
of  San  Andrea  in  Rome.  The  Sacristan  comes  into  the  Church  carrying 
a  basket  of  food  and  paint  brushes  for  Mario  Cavaradossi,  who  is 
painting  a  picture  of  Mary  Magdalen.  The  Sacristan  remarks  that 
the  features  remind  him  of  the  face  of  a  beautiful  woman  he  has  often 
seen  in  Church.  Mario  tells  him  the  features  of  the  lady  inspired 
him  for  his  picture  and  that  he  copied  the  face  whilst  the  lady  knelt  in 
prayer.  The  Sacristan  goes  out  and  Mario  takes  from  his  pocket  a 
picture  of  Tosca  to  compare  it  with  that  of  his  Mary  Magdalen.  At 
this  moment  the  convict  is  seen  approaching  the  Chapel  door.  The  man 
calls  Mario  by  his  name  and  the  latter  -recognizes  his  friend,  Cesare 
Angelotti,  who  was  imprisoned  for  political  reasons.  Angelotti  implores 
him  to  help  him  escape.  Whilst  they  earnestly  talk  together,  Tosca's 
voice  is  heard  calling  to  Mario.  Mario  gives  Aag«io*ti  the  food  which 
was  left  for  him  and  reassures  Angelotti  that  he  will  help  him.  Mean- 
while, Tosca,  not  seeing  Mario,  suspects  him  of  an  intrigue.  After 
some  delay  Mario  goes  to  her  and  she  accuses  him.  He,  however, 
manages  to  reassure  her,  but  does  not  disclose  the  cause  of  his  delay 
in  answering  her  call  to  him.  Tosca  proposes  that  they  meet  that  very 
evening  at  her  Villa.  She  looks  at  the  picture  of  Mary  Magdalen  and 
sees  the  resemblance  with  Donna  Attavanti,  Angelctti's  sister.  Mario 
tells  her  that  he  does  not  know  the  lady,  but  that  he  copied  her  features, 
because  she  looked  so  beautiful  in  prayer.  Tosca's  jealousy  is  kindled, 
but  again  Mario  reassures  her  and  they  part,  until  the  evening. 

When  Tosca  has  gone,  Mario  tells  Angelotti  that  he  knows  of  a 
hiding  place  near  an  old  well.  The  two  men  leave  the  Church  together 
and  are  hardly  out  of  sight  when  choir  boys  and  the  Sacristan  enter 
followed  by  Scarpia  and  the  police,  who  have  already  traced  Angelotti 
to  the  Church.  Here  they  find  the  fan  with  the  crest  of  the  Attavanti. 
Scarpia  sends  his  men  in  pursuit  of  Angelotti  and  Mario,  and  remains 
in  the  church.  Meanwhile,  Tosca,  who  has  felt  uneasy,  about  Mario, 
returns.  Scarpia,  who  has  long  been  an  admirer  of  Tosca,  determines 
to  win  her  and  to  turn  her  against  Mario.  He  shows  her  the  fan  with 
the  Attavanti  crest.  She  recognizes  it  and  is  now  persuaded  that  her 
lover  loves  Donna  Attavanti.  She  leaves  the  Church  in  tears  followed 
by  Scarpia's  spies. 


ACT    II 

This  act  shows  us  Scarpia  dining  at  the  Palazzo  Farnese,  where  he 
has  his  quarters.  He  knows  that  Tosca  will  sing  there  that  evening 
and  manages  to  send  her  a  note  telling  her  he  has  news  of  her  lover. 
Mario  is  brought  in  a  prisoner.  Scarpia  angrily  orders  Mario  to 
divulge  the  hiding  place  of  Angelotti,  but  he  refuses.  When  Scarpia 
finds  he  cannot  force  his  secret  from  Mario,  he  orders  him  tortured. 
Tosca  enters  as  he  is  being  led  away  and  he  entreats  her  to  be  silent  lest 


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he  be  put  to  death.  Scarpia  now  plies  Tosca  with  questions,  and  Tosca, 
hearing  the  cries  of  agony  as  her  lover  is  being  tortured  in  an  adjoining 
chamber,  divulges  that  Angelotti  is  hiding  in  the  well  of  the  garden. 

Sciarone  now  comes  in  with  the  news  that  they  have  been  beaten  by 
the  army  of  Napoleon.  Mario  predicts  the  downfall  of  Scarpia,  who 
in  a  fury  orders  the  execution  of  Mario.  Tosca  wants  to  go  to  prison 
with  him,  but  is  detained.  She  asks  Scarpia  at  what  price  she  can 
save  Mario.  Scarpia  tells  her  that  he  loves  her  and  that  only  at  the 
price  of  her  honor  she  can  save  her  lover.  To  save  Mario,  Tosca  consents. 
Scarpia  tells  Tosca  that  Mario  has  only  one  hour  more  to  live,  and 
informs  her  that  in  order  to  gain  his  freedom  Mario  will  have  to  go 
through  a  mock  execution.  She  begs  Scarpia  for  a  safe  conduct  from 
the  City  for  both  of  them  that  night.  He  writes  the  order  and  is  about 
to  give  it  to  Tosca  when  she  stabs  him  to  the  heart.  As  he  falls,  she 
takes  tlie  paper  from  him,  washes  her  hands  from  his  blood  and  plac*- 
two  candles  at  each  side  of  him,  laying  a  cross  upon  his  bosom. 


ACT   III 

That  same  night,  at  the  Castle  of  San  Angelo,  Mario  is  listening  to 
his  death  sentence.  The  guard  tells  him  he  has  but  one  hour  to  live 
and  he  asks  for  paper  and  ink  to  write  to  Tosca.  He  hears  someone 
approaching  and  sees  Tosca,  who  tells  him  that  his  life  is  safe  and  that 
the  execution  will  only  be  a  sham,  as  she  has  an  order  for  safe  conduct 
for  them  both.  He  questions  her  as  to  how  she  was  able  to  get  this 
and  she  confesses  her  shameful  bargain,  telling  him  that  she  has 
murdered  Scarpia.  He  takes  her  hands  and  kisses  them,  happy  in  her 
courage.  She  bids  him  to  feign  death  and  wait  until  she  comes  to  him. 
He  promises  and  they  await  the  hour  of  death  full  of  hope  for  the  future. 

Soldiers  appear  and  lead  Mario  to  the  place  of  execution.  They  fire 
and  he  falls.  When  the  soldiers  have  left,  Tosca  goes  to  him  and  bids 
him  rise.  He  does  not  move  and  in  terror  she  realizes  that  he  has 
been  killed.  She  throws  herself  on  her  lover's  body  weeping  in  agony. 
Spoletta  and  Sciarrone  appear  and  accuse  her  of  the  murder  of  Scarpia. 
As  they  are  going  to  place  her  under  arrest  she  runs  to  the  bastions 
from  which  she  throws  herself. 


CHARACTERS. 


FLORIA  TOSCA,  a  celebrated  songstress  .     .     .  Soprano 

MARIO  CAVARADOSSI,  painter Tenor 

BARON  SCARPIA,  Chief  of  the  Police    .     .     .  Baritone 

CESARE  ANGELOTTI       Bass 

A  SACRISTAN Baritone 

SPOLETTA,  Police  Agent Tenor 

SCIARRONE,  Gendarme Bass 

A  GAOLER Bass 

A  SHEPHERD-BOY  Contralto 


Roberti,  Executioner. 

A  Cardinal.  A  Judge. 

A  Scribe.  An  Officer.  A  Sergeant 

Soldiers,  Police- Agents,  Ladies,  Nobles,  Citizens,  Artisans,  etc 


Rome,  June..  1800. 


ATTO    PRIMO 


La  Chiesa  di  Sant'Andrea  alia  Valle. 

A  destra  la  Cappella  Attavanti.  A  sinistra  un  impalcato  :  su 
di  esso  un  gran  quadro  coperto  da  tela.  Attrezzi  vari  da 
pittore.  Un  paniere. 


Angelotti 

(Testito  da  prigioniero,  lacero,  sfatto,  tremante  dalla  paura,  entra  ansante,  quast  -jor- 
rendo,  dalla  porla  laterale.    Da  una  rapida  occhiata  intorno) 

Ah  !...  Finalmente  !...  Nel  terror  mio  stolto 
vedea  ceffi  di  birro  in  ogni  volto. 

(torna  a  guardare  attentamente  intorno  a  Be  con  pift  calma  a  riconoscere  il  luogo. — DJ 
an  Bospiro  di  sollievo  vedendo  la  colonna  colla  pila  dell'acqua  santa  e  la  Madonna) 

La  pila...   la  colonna... 
"A  pie  della  Madonna  " 
mi  scrisse  mia  sorella... 

(vi  si  arwcina,  cerca  ai  piedi  della  Madonna  e  ne  ritira,  con  un  soffocato  grido  di  gioia, 
nna  chiave) 

Ecco  la  chiave...  ed  ecco  la  cappella  !... 

faddita  la  Cappella  Attavanti ;  con  gran  precauzione  introduce  la  chiave  nella  serratura, 
apre  la  cancellata,  penetra  nella  Cappella,  rinchiude...  e  ecompare). 


II  Sagrestano 

(entra  dal  fondo  i«nendo  fra  le  mani  un  mazzo  di  pennelli  e  parlando  ad  alta  voce  come 
Be  rivolgessela  parola  a  qnalcuno) 

E  frega  e  lava  !...  Ogni  pennello  e  soiwo 
peggio  che  il  collarin  d'uno  scagnozzo. 
Signor  pittore...  To  !... 

vereo  Timpalcato  dove  sta  il  quadro,  e  vedendolo  deserto,  eeclama  sorpres*) 

Nessuno.  -  Avrei  giurato 
che  fosse  ri tomato 
il  cavalier  Cavaradossi, 


ACT   I. 


Scene :    The  Church  of  Sant' Andrea  alia  Valle. 

R. — The  Attavanti  Chapel.  X. — Scaffolding,  dais,  easel  sup- 
porting a  large  picture  covered  by  a  cloth.  Accessories 
of  the  painting  craft.  A  basket. 

(Enter  Angelotti  L.,  in  prison  garb,  harassed,  dishevelled,  panic-stricken,  well-nigh 
breathless  with  fear  and  hurry.  He  casts  a  hasty  glance  around  him) 

Angelotti 

Ah !  I  have  baulked  them  ...  dread  imagination 
Made  me  quake  with  uncalled-for  perturbation. 

(•Juddering,  he  again  1  oks  round  him,  curiously  and  somewhat  more  calmly,  heaving 
a  sigh  of  relief  as  he  recognizes  a  imlar-shrine  containing  an  image  of  the  Virgin 
and  surmounting  a  receptacle  for  Holy  Water) 

The  pila  ...  and  the  column. 

My  sister  wrote  to  tell  me 

"At  the  foot  of  the  Madonna"  ... 

Q*e  approaches  the  column  and  searches  for  the  key  beneath  the  feet  of  the  Holy 
Virgin's  image.  Not  finding  it  immediately,  he  appears  discouraged,  and  renews 
his  quest  in  a  state  of  manifest  agitation.  Presently,  stifling  au  exclamation  at 
joy,  he  discovers  the  key) 

This  is  the  key, 

(quickly  passing  his  hand  over  the  portals  of  Attavanti  Chapel) 

and  this  the  Chapel  entrance. 

'Stricken  .new  with  alarm  by  the  notion  that  he  has  been  followed,  he  looks  timorously 
about  him,  creeps  up  to  the  chapel-gates,  carefully  inserts  the  key  in  the  kevhole, 
opens  the  folding-doors  and  passes  through  them,  closing  them  behind  him)  " 

(Enter  the  Sacristan  C.,  grasping  in  one  hand  a  bundle  of  paint-brushes  ;  he  crosses 
from  L.  to  R.,  and  takes  up  bin  stand  in  the  nave  of  the  church,  for  a  time,  eventu- 
ally moving  towards  th«  scaffolding  while  talking  loudly,  as  though  he  were  address- 
ing tome  unseen  person) 

The  Sacristan 

.(who  has  a  nervous  trick  of  twitching  his  neck  and  shoulders) 

Vainly  I  soak  them  !     Dirty  they  are  and  sticky, 
Fouler  than  any  frowsy  choir-boy's  dicky... 
Good  sir,  I  pray  you.*, 

(staring  at  the  dais,  and  amazed  to  see  it  vacant) 

What !     Nobody  !     I  could  have  sworn 
£  should  have  found  Cavaradossi 
feusily  working  at  his  easel. 


(depone  1  pennelli,  sale  sull'impalcato,  gnarda  dcntro  il  paniere  e  dice) 

No, 

sbaglio.  —  II  paniere  e  intatto. 

(suona  V Angelas.  II  Sagrestano  si  inginocchia  e  prega  sommesso). 


CAVARADOSSI  -  SAGKESTANO. 


Cavaradossi 

(dalla  porta  laterale,  vedendo  il  Sagrestano  in  ginoccbio) 

Chefai? 

Sagrestano 

(alzandosi) 

Recito  \* Angelus. 

(Cav-aradossi  sale  Bull'impalcato  e  scopre  il  quadro.     K  una  Maria  Maddalena  a  grand! 

occhi  azzurri  con  una  gran  pioggia  di  capelli  dorati.     II  pittore  vi  sta  dinanzi  muto 

attentamente  osservando). 
(II  8agrestan">,  volgendosi  verso  Cavaradossi  per  dirigcrglio  la  parola,  vede  il  quadro 

bcoperto  e  di  in  un  grido  di  meraviglia) 

O  sante 
arapolle  !  II  suo  ritratto  !... 

Cavaradossi 
Dichi? 

Sagrestano 
Di  quell'ignota 

che  i  (11  passati  a  pregar  qui  venla 
tutta  dcvota  -  c  pia. 

ieaccenna  vergo  la  Madonna  dalla  quale  Angelotti  trasse  la  chiave) 

Cavaradossi 

(aorridendo) 

E  vcro.  E  tanto  ell'era 

infervorata  nella  sua  preghiera 

ch'io  ne  pinsi,  non  visto,  il  bel  sembiante. 

Sagrestano 
(Fuori,  Satana,  fuori !) 

Cavaradossi 
Dam  mi  i  colori  ! 

(H  Sagrestano  eeegnisce.  C.'avaradoBsi  dipinge  con  rapidita  e  si  sofferma  epesso  a  riguar 
dare  :  il  Sagrestano  va  e  vienc,  portando  una  catinella  entro  la  quale  continua  a  la- 
vare  i  pennelli). 

IA  un  tratto  Cavaradossi  si  rista  di  dipingere;  leva  di  tasca  un  medaglione  contenente 
ana  miniatnra  e  gli  occhi  suoi  vanno  dal  medaglione  al  quadro) 


APT  *• 

(He  looks  into  the  basket) 

No,  wrong  again. 

Nothing  has  been  touched  here. 

file  steps  down  from  the  dais.  The  Angelus  is  rung.  He  kneels,  and  intones  tht 
prayer.  Bell.  Enter  Cavaradossi  L.  He  sees  the  Sacristan  kneeling) 

Cavaradossi 
What  now  ? 

Sacristan 

(rising) 

Only  the  Angelus. 

(Cavaradossi  ascends  the  dais  and  uncovers  the  picture,  which  represents  a  Mary 
Magdalen  wilh  large  blue  eyes  and  masses  of  golden  hair.  The  painter  stands 
facing  it,  gazing  upon  it  in  silent  and  intent  contemplation.  Turning  towards 
Cavaradossi  to  speak  to  him,  the  Sacristan  catches  sight  of  the  uncovered  pictur* 
and  exclaims  in  great  amazement :) 

Saints  and  Martyrs  !     It  is  the  portrait... 
Cavaradossi 

(turning  towards  the  Sacristan) 

Of  whom  ? 

Sacristan 

Of  that  fair  lady  who,  day  by  day, 
lately,  to  pray  came  hither. 

(reverently  bowing  before  the  Virgin's  image  beneath  which  Angelotti  had  found  tl>« 
key) 

Deeply  devout  was  her  worship... 
Cavaradossi 

(smiling) 

Ay,  truly  !     While  thus  absorbed  in  her 

devotions,  plunged  in  dreamy  rapture 

then  unseen,  I  depicted  her  lovely  semblance. 

Sacristan 

(scandalized) 

Get  thee,  Satan,  behind  me  ! 
Cavaradossi 

(to  the  Sacristan,  who  obeys  him) 

Give  me  the  colours  ! 

the  begins  to  paint  rapidly,  often  pausing  to  look  at  his  own  work,  while  the  Sacristan 
fidgets  backwards  and  forwards,  eventually  picking  up  the  brushes  and  dabbling 
them  in  a  bucket  at  the  foot  of  the  scaffolding.  Cavaradossi  suddenly  stops  paint- 
ing, takes  out  of  his  breast-pocket  a  medallion  containing  a  miniature,  and  compare* 
the  latter  with  the  picture  on  the  easel) 


ATTO  PRIMO 


Recondita  armonia 
di  bellezze  diverse  !...  E  bruna  Floria, 
Pardente  amante  mia, 
e  te,  nobile  fior,  cinge  la  gloria 
dell'ampie  chiome  blonde ! 

Tu  azzurro  hai  1'occhio  e  Tosca  ;>a  Pocchio  nero ! 
L'arte  nel  suo  mistero 
le  diverse  bellezze  insiem  confonde: 
raa  nel  rilrar  costei 
il  mio  solo  pensier,  Tosca  tu  sei  1 

Sagrestano 

(fra  8<J,  brontolando) 

(Scherza  coi  fanti  e  lascia  stare  i  santi. 

Queste  diverse  gonne 

che  fanno  concorrenza  alle  Madonne 

mandan  tanfo  d'inferno. 

Ma  con  quei  cani  -  di  volterriani 

iiemici  del  santissimo  govern o 

non  c'e  da  metter  voce  !... 

Facciam  piuttosto  il  segno  della  croce). 

(a  Cavaradossi) 

Vado,  Eccellenza  ? 

Cavaradossi 

Fa  il  tUO  piacere  !    (ritoma  a  dipingere). 

Sagrestano 

(indicando  11  cesto) 

Pieno  6  il  paniere... 
Fa  penitenza? 

Cavaradossi 
Fame  non  ho. 

Sagrestano 

(con  ironia  etropicciandoei  le  man!) 

Oh  !...  mi  rincresce  ! 

*on  pnfi  trattenere  nn  geelo  di  gioia  e  uno  eg/jmlo  di  arlditi  vereo  11  ceato  cne  prende 
ponendolo  un  po1  in  disparte) 

Badi,  quand'eece 
chiuda. 


Strange  harmony  of  contrasts, 

thus  deliciously  blending, 
My  Floria's  dusky  glow  with 

peach-like  blooru  contending. 

Sacristan 

(grumbling  under  his  breath) 

He  scorns  the  saints  and  jests  with  the  ungodly. 

(fetches  water  wherewith  to  cleanse  the  brushes) 

Cavaradossi 

Thou  fairest  Queen  of  Heaven, 

Gold  are  thy  tresses  and  radiantly  bright! 

Thine  eyes  are  blue — and  Tosca's 
Dark  as  a  moonless  night. 

Sacristan 

(returns  up  the  stage,  murmuring) 

He  scorns  the  saints  and  jests  with  the  ungodly! 

(The  Sacristan  recommences  washing  the  brushes) 

Cavaradossi 

Art,  that  potent  magician,  many  beauties 

combines  in  one  ideal; 
To  me,  beloved  Tosca,  when  I  limn  thy  bright  visage. 

thou  alone  art  real!      (he  continues  to  paint) 

Sacristan 

(having  dried  the  cleaned  brushes,  he  goes  on  muttering) 

These  light  o'  loves  pernicious, 
So  frivolously  vicious, 

Delight  in  wiling  human  souls  to  perdition  ; 
And  they,  like  heathenish  unbelievers, 
Should  all  be  hanged  or  burned  as  vile  deceivers, 

By  the  Holy  Inquisition,     (grumbles) 
He  scoffs  a*  saints,  and  jests  with  the  ungodly  I 

(He  thrusts  the  basket  under  the  scaffolding,  and  places  the  clean  brushes  in  a  jug  new 
the  painter) 

(aside)  (I  may  as  well  be  off,  with  his  permission.) 
(aloud)  Excellency,  I'm  going. 

Cavaradossi 

Do  as  you  please,  man.     (goes  on  painting) 
Sacristan 

(pointing  to  the  basket) 

Full  is  the  pannier...     Pray,  are  you  fasting? 

Cavaradossi 

Nothing  for  me ! 

Sacristan 
Oh  1  I  am  sorry  !... 

(robs  hie  haudw  ironically,  but  cannot  repress  a  joyous  gesture  and  a  greedy  glance  tt 
tbe  basket,  which  he  picks  up  and  sets  aside.    lie  then  takes  two  pinches  of  BRufi) 

Please  to  lock  up,  when  leaving. 


•  TOSCA 

Cavaradossi 
Va! 

Sagrestano 

Vo. 

(s'allontana  per  11  fondo) 

(Cavaradossi  volgendo  le  spalle  alia  Cappella  lavora.   Angelotti,  credendo  deserta  la 
chieea,  appare  dietro  la  cancellata  e  introduce  la  chiave  per  aprlre). 


CAVARAI>OSSI  -  ANGELOTCT. 
Cavaradossi 

(al  cigolio  della  serratura  si  vclta) 

Gente  1&  dentro  ! 

(al  movimento  fatto  da  Cavaradossi,  Angelotti,  atterrito  si  arresta  come  per  rifngiarri 
anrora  nclla  Cappella  —  ma  —  alzati  gli  occhi,  un  grido  di  gioia,  che  egli  soffoca 
tosto  timoroso,  erompe  dal  suo  petto.  Egli  ha  riconosciuto  il  pittore  e  gli  Blende  le 
braccia  come  ad  un  aiuto  insperato) 

Angelotti 
'Voi  1  Cavaradossi  1 
Vi  manda  Iddio ! 

Cavaradossi 
Ma... 

Angelotti 

(va  fln  sotto  I'impalcato) 

Non  mi  ravvisate? 
II  carcere  mi  ha  dunque  assai  mutato 

Cavaradossi 
II  carcere  ?... 

tCavaradoesi  guarda  flso  II  volto  di  Angelotti,  e  finalmente  lo  ravrisa.  Depone  rapido 
tavolozza  e  pennelll,  scende  dall'impalcato  verso  Angelotti,  guardandosl  cauto 
intorno) 

Angelotti ! 

Angelotti 

Appunto. 
Cavaradossi 

n  Console 
spenta  repubblica  romana. 

(corre  a  chindere  la  porta  a  destra) 


•  ACT  I. 

Cavaradossi 

Go! 

Sacristan 

I  gO.  (Exit  C7.) 

(Cavaradossi  continues  to  work,  turning  his  back  to  the  Chapel  Angelotti,  believing 
the  Church  to  be  empty,  appears  behind  the  railing,  and  uses  whe  key  to  open  it) 

Cavaradossi 

(hears  the  lock  creak,  and  turns  round) 

Someone  is  in  there ! 

(Angelotti,  alarmed  by  Cavaradossi's  movement,  is  about  to  tafce  refuge  anew  in  the 
Chapel,  but  utters  a  half-stifled  cry  of  gladness  on  recognising  the  painter,  towards 
whom  he  advances  open-armed,  as  to  an  unhoped-for  rescuer) 


Angelotti 

You  !     Cavaradossi  1 
God  sends  you  to  me  ! 

(Cavaradossi  does  not  recognise  Angelotti,  and  remains  on  the  dais,  petrified  by  amaze- 
ment.   Angelotti,  craving  recognition,  approaches  him) 

Have  you  quite  forgotten  ? 

Has  prison-life  transformed  me  out  of  knowledge  ? 


Cavaradossi 

(recognising  Angelotti,  hastily  sets  down  his  palette  and  brushes,  and  descends  from 
the  dais  looking  cautiously  around  him) 

Angelotti ! 
The  Consul  of  the  moribund  Roman  Republic  J 

(hastens  to  close  the  church-door  L) 


ATTO  PRIMO 


Angelotti 
Fuggii  pur  ora  da  Castel  Sant' Angela... 

Cavaradossi 
Disponete  di  me. 

Voce  di  Tosca 
Mario ! 

(alia  voce  di  Toeca,  Cavaradossi  fa  un  rapido  cenno  ad  Angelotti  di  tacere) 

Cavaradossi 

Celatevi ! 

E  una  donna...  gelosa.   Un  breve  istante 
e  la  rimando. 

Voce  di  Tosca 
Mario  ! 

Cavaradossi 

'verso  la  porta  di  dove  viene  la  voce  di  Toeca) 

Eccomi ! 
Angelotti 

(colto  da  un  acceeso  di  debolezza  si  appoggia  air  impalcato) 

Sono 
stremo  di  forze  -  non  mi  reggo. 

Cavaradossi 

(rapidiseimo,  sale  null'  Impalcato,  ne  discende  col  paniere  e  incoraggiando  Angelotti,  to 
jpinge  verso  la  Cappella) 

In  questo 
panier  vi  e1  cibo  e  vino. 

Angelotti 

Grazie ! 
Cavaradossi 

Presto  I 

(Angelotti  entra  uella  Cappella). 

CAVAEADOSSI  -  TOSCA. 


Mario! 


Voce  di  Tosca 

(chiamando  ripetutamente  stizziU) 


ACT  I.  < 

Angelotti 

(advancing  towards  Cavaradossi) 

1  have  escaped  but  now  from  Fort  San  Angelo.., 
Cavaradossi 

(generously) 

Can  I  do  aught  to  help  you  ? 
Tosca 

(from  without) 

Mario! 
Cavaradossi 

(hearing  Toaca's  voice,  makes  a  sign  to  Angelotti  enjoining  him  to  Keep  silence) 

Conceal  yourself  1 
The  most  jealous  of  women... 
Within  a  minute  I'll  dismiss  her. 

Tosca 

Mario  1   (as  before) 

Cavaradossi 

(in  reply) 

Here  I  am  ! 

Angelotti 

(overcome  by  weakness,  leans  against  the  scaffolding) 

I  am  hungry  and  weary  and  exhausted... 
Cavaradossi 

(produces  the  basket  from  beneath  the  scaffolding,  and  gives  it  to  Angeiottlj 

See,  here  is  good  store  of  food  and  liquor. 

Angelotti 
Thank  you  ! 

Cavaradossi 

targing  Angelotti  forward  towards  the  Chapel} 

Plasten  ! 

(Angelotti  enters  the  Chapel) 

Tosca 

(irritated) 

Iferio  I     Mario  !     Mario  1 


Cavaradossi 

(apre) 
Son  qui ! 

Tosca 

(entra  con  an.  »pecie  di  violenza,  allontana  bruscamente  Mario  che  vuole  abbracciarlt,  e 
guarda  sospettosa  intorno  a  se) 

Perche  chiuso  ? 

Cavaradossi 

Lo  vuole 

il  Sagrestano. 

Tosca 
A  chi  parlavi  ? 

Cavaradossi 

Ate! 

Tosca 

Altre  parole  bisbigliavi.  Ov'e?... 

Cavaradossi 

Chi? 

Tosca 

ColeiL.  Quella  donna!... 
Ho  udito  i  lesti 
passi  e  un  frusclo  di  vesti... 

Cavaradossi 
Sogni ! 

Tosca 

Lo  neghi  ? 

Cavaradossi 
Lo  nego  e  t'amo  !  (per  baciaria) 

Tosca 

(con  dolce  rimprorero) 

Oh  !  innanzi  la  madonna. 
Lascia  pria  ch'io  1'infiori  e  che  la  preghi. 

(ef  awicina  alia  Madonna,  dispone  con  arte,  intorno  ad  essa,  i  flori  che  ha  portato  CMI 
ed,  *>i  inginocchla  e  prega  con  inolta  devozione,  poi  e'alza) 


1C  ACT  I. 

Cavaradossi 

(feigning  calm,  opens  the  door  to  Tosca) 

I  am  here ! 

Tosca 

(enters  impetuously,  looking  suspiciously  about  her.  Cavaradossi  approaches  her  t* 
embrace  her;  she  repels  him  brusquely) 

Why  lock  the  door  ? 

Cavaradossi 

(feigning  indifference) 

By  the  Sacristan's  order. 

Tosca 

To  whom  wert  speaking* 

Cavaradossi 
To  thee ! 

Tosca 

To  someone  else  I  heard  thee  whisp'ring. 

Where  is  she  ? 

) 
Cavaradossi 

Who? 

Tosca 

Why,  she  !...     Your  fair  lady  !... 
Her  footsteps  and  the  swish  of  her  skirts 
I  heard  quite  plainly  ... 

Cavaradossi 
Fancies  ! 

Tosca 

Was't  not  so  ? 

Cavaradossi 

(passionately) 

'Twas  not,  beloved  ! 

(tries  to  embrace  her) 

Tosca 

(gently  reproving  him) 

Ob !  before  the  good  Madonna  !  No, 
Mario  mine ;  let  me  pray  to  her  first, 
and  make  my  off'ring  ! 

(she  reverently  adorns  the  Virgin's  image  with  the  flowers  which  she  had  brought  with 
her  for  that  purpose;  then  kneels  down,  prays  devoutly,  crosses  herself,  and  arises. 
To  Cavaradossi,  who,  meanwhile,  has  made  preparations  to  resume  work) 


ATTO  PRIMO 


(a  Cavaradossi,  che  si  6  avviato  per  riprendere  il  lavoro) 

Ora  stammi  a  sentir  -  stassera  canto, 
ma  e  spettacolo  breve.  -  Tu  mi  aspetti 
snll'uscio  della  scena 
e  alia  villa  ne  andiam  soli  e  soletti. 

Cavaradossi 

(che  f  u  sempre  soprapeneieri) 

Stassera?  I 

Tosca 
E  luna  piena 

ed  il  notturno  effluvio  floreale 
nebria  il  cor.  -  Non  sei  contento? 

Cavaradossi 

(ancora  un  po'  distratto  e  perltoso) 

Tantoj 
Tosca 

(colpita  da  quell'accento) 

Tornalo  a  dir ! 

Cavaradossi 
Tanto  1 

Tosca 

Lo  dici  male: 

(va  a  sedere  sulla  gradinata  presso  a  Cavaradossi) 

non  la  sospiri  la  nostra  casetta 
che  tuttu  ascosa  nel  verde  ci  aspetta? 
nido  a  noi  sacro,  ignoto  al  mondo  inter. 
pien  d'amore  e  di  mister? 

Oh  al  tuo  fianco  sentire 

per  le  silenziose 

stellate  ombre,  salire 

le  voci  delle  cose! 
T)ai  boschi,  dai  roveti, 

dall'arse  erbe,  dall'im« 

dei  franti  sepolcreti 

odorosi  di  timo, 
la  notte  escon  bisbigli 

di  minuscoli  amori 

e  perfidi  consigli 

che  ammolliscono  i  cuori. 


ACT  I.  ft 

And  now  listen  to  me. 

To-night  I'm  singing,  but  the  piece  is  a 

short  one.     At  the  stage  door  await  me 

without  fail,  and  we'll  run  off 

to  the  villa  by  stealth  together. 

Cavaradossi 

(absently) 

This  evening? 

Tosca 

The  moon  is  full,  and  all  the  scents 
that  rise  from  fragrant  flow'rs 
perfume  the  night. 
Will  that  not  please  you  ? 

(she  eita  down  on  the  dais-step,  close  to  Cavaradossi) 

Cavaradossi 

Surely  I   (absently) 

Tosca 

(struck  with  his  indifference) 

Say  it  again  ! 

Cavaradossi 

(as  before) 

Surely. 
Tosca 

(vexed) 

Thou  say'st  it  badly. 

Dost  thou  not  long  for  our  cottage  secluded, 
From  which  all  cares  and  vexations  are  excluded  ? 
Sweet,  secret  nest,  in  which  we  love-birds  hide, 
Safe  and  happy,  side  by  side. 
When  the  skies  are  calm  and  clear, 

We'll  listen  to  the  voices 
That  only  lovers  Lear 

When  Nature  herself  rejoices 

From  all  the  flowers  that  bloom  in  tha;;  earthly  Aidenn, 
Late  breezes,  with  summer  fragrance  laden,      [sensation, 
Cull  perfumes  that,  blended,  evoke  a  strange  mysterious 
Rife  with  subtle  and  sweet  intoxication. 


Florite,  o  campi  iramensi,  palpitate 
aure  marine  nel  lunare  albor, 
piovete  volutta,  volte  stellate! 
Arde  a  Tosca  nel  sangue  il  f  olle  amor ! 
Cavaradossi 

(vinto,  ma  vigilante) 

Mi  avvinci  ne'tuoi  lacciL. 
SI  verr6  raia  sirena! 

(guarda  verso  la  parte  donde  uscl  Angelotti) 

Ma  or  lasciami  al  lavoro. 
Tosca 

Mi  discacci  ? 

Cavaradossi 
Urge  1'opra,  lo  sail 

Tosca 

Vado !   (aiza  gli  occhi  e  vede  II  quadro) 

Chi  6  quella 
donna  bionda  lassii  ? 

Cavaradossi 

La  Maddalena. 
Ti  place  ? 

Tosca 

il  troppo  bella! 

Cavaradossi. 

(ridendo  ed  inchinandosi) 

Prezioso  elogio. 

Tosca 

(soepettosa) 

Ridi? 
Quegli  occhi  cilestrini  io  gi&  li  vidi.. 

Cavaradossi 

(con  indifferenza) 

Ce  n'6  tanti  pel  mondo  1 
Tosca 

(cercando  ricordare) 

Aspetta...  Aspetta... 
£  1'Attavanti ! 

Cavaradossi 

(ridendo) 

Brava ! 


1»  ACT  t. 

The  babbling  brooks,  the  rustling  leaves  and  grasses, 
The  night-birds  belated, the  chirping  red-breast  and  cooing 

turtle-dove 

Murmur  the  story  of  the  joy  that  all  surpasses, 
Tell  the  tale  of  ardent  love. 

Cavaradossi 

Thou  hast  caught  me  in  thy  toils, 
my  fair  enchantress. 
Siren  sweet,  I  will  come  I 

Tosca 

My  beloved  ! 

(leans  her  head  against  Cavaradossi's  shoulder.    Straightway  he  draws  back  a  little 
fixing  his  gaze  upon  the  Chapel-gates) 

Cavaradossi 

Now  leave  me  to  my  labours. 

Tosca 

(surprised) 

You  dismiss  me  ? 

Cavaradossi 
I  must  work,  child,  as  thou  knowest. 

Tosca 

(showing  vexation,  rises) 

I  am  going  ! 

moves  away  from  Cavaradossi,  but,  looking,  back,  perceives  the  picture,  and  returns  U 
Cavaradosr-i,  much  agitated) 

Pray,  who  is  that  fair-haired  woman  there  ? 

Cavaradossi 
A  Magdalen,      (calmly)      Do  you  like  her  ? 

Tosca 

She  is  too  handsome. 

Cavaradossi 

(bowing  and  smiling) 

A  flatt'ring  judgment  1 

Tosca 

(suspiciously) 

Smil'st  thou  ? 

I  fancy  I  have  seen  those  blue  eyes  somewhere.,, 
Cavaradossi 

(with  indifference) 

They're  by  no  means  uncommon!... 
Tosca 

(striving  to  remember) 

A  moment. 

(ascends  the  dais,  and  exclaims  triumphantly) 

The  Attavanti! 

Cavaradossi 

(laughing) 

Brava 1 


ATTO  PRIMO 


Tosca 

(cieca  di  gelosia) 

La  vedi?  Ti  ama?  Tu  1'ami?  Quei  passi, 
quel  bisbiglio...  Qui  stava 
pur  ora  !  Ah  la  civetta  I 
A  me! 

Cavaradossi 

(serio) 

La  vidi  ieri  —  ma  fu  puro 
caso.  A  pregar  qui  venne...  e  la  ritrassi 
non  visto. 

Tosca 
Giura  ! 

Cavaradossi 

(8erio) 

Giuro  ! 
Tosca 

(sempre  cogli  occhi  rivolti  al  quadro) 

Come  mi  guarda 
fiso! 

Cavaradossi 

(to  ipinge  dolcemente  a  scendere  dalla  gradinata.  Esea  discende  all'indietro  tenendc 
alto  le  sue  mani  in  quelle  di  Cavarudossi.  Tosca  scendendo  ha  seinpre  la  faccia 
"erso  il  quadro  cui  Mario  da  le  spalle) 

Vien  via... 

Tosca 

Di  me,  beffarda, 

ride,   (sonascesi) 

Cavaradossi 

Follia  !  da  Tiene  presso  di  fid  fiseandolain  viso 

Tosca 

(inaistente) 

Ah,  quegli  occhi...  quegli  occhi !... 

Cavaradossi 

Quale  occhio  al  mondo  mai  pu6  star  di  paro 
al  limpido  ed  ardente  occhio  tuo  nero? 
In  quale  mai  dell'anima  il  mistero 
si  riveld  piii  subito  e  pin.  chiaro? 
E  questo  il  desiato  e  questo  il  caro 
occhio  ove  I'esser  mio  s'affisa  intero. 
Occhio  all'amor  soave,  all'ira  fiero 
quale  altro  al  mondo  ti  pud  star  di  paro  ? 


ACT  r.  » 

Tosca 

(devoured  by  jealousy) 

Thou  see'st  her  ?    She  loves  thee? 
Thou  lov'st  her  ? 

Cavaradossi 

(reassuringly) 

Thou  art  mistaken... 

Tosca 

(not  listening  to  him,  in  her  jealous  rage) 

Those  footsteps ...  and  all  that  whisp'ring... 
Ah  1  for  her  you  have  betrayed  me... 

Cavaradossi 

What  nonsense! 

Tosca 
That  hideous  creature!  (menacingly)  For  her  J 

Cavaradossi 

(gravely) 

I  saw  her  yestern  by  the  merest  chance. 
She  hither  came  to  pray,  and — 
unseen — I  sketched  her  features... 

Tosca 

Swear  it! 

Cavaradossi 

I  SWear  it  (gravely) 

Tosca 

(gazi'ig  steadfastly  at  the  picture) 

See  how  she  stares,  the  harpy !... 

Cavaradossi 
Away,  love! 

Tosca 

As  though  she  loathed  and  scorned  me. 

Cavaradossi 

(gently  urging  her  to  descend  the  steps) 

What  folly! 

e  comes  down  backwards,  holding  both  Cavaradossi's  hands,  and  never  taking  het 
eyes  off  the  picture.  Cavaradossi  presses  her  to  him  fondly,  looking  lovingly  inta 
her  eyes) 

Tosca 

(softly  reproaching  him)    (See  P.  P.  Score  for  missing  words.) 

Ah!  those  eyes!... 

Cavaradossi 

No  eyes  on  earth — not  the  brightest  and  clearest- 
Are  as  lustrous  as  thine,  tliou  ever  dearest!... 
Why  dost  thou  doubt  me  ?    What  is't  thou  fearest  T... 
Why  would  thy  jealous  fancy  fain  discover 
A  faithless  heart  in  the  loyal  breast  of  thine  own 
constant  lover  ?— 


TOSCA 

Tosca 

(rapita,  appoggiando  la  testa  alia  epulla  di  Cavaradosei) 

Oh  come  la  sai  bene 
1'arte  di  farti  amareL. 

(sempre  insietendo  nella  sua  idea) 

Ma...  falle  gli  occbi  neri! 

Cavaradossi 

Mia  gelosa! 
Tosca 

SI,  lo  sento...  ti  tormento 
senza  posa. 

Cavaradossi 
Mia  gelosa! 
Tosca 

Certa  sono  -  del  perdono 
se  tu  guardi  al  mio  dolor! 

Cavaradossi 
Ogni  cosa  in  te  mi  piace; 
1'ira  audace 
e  lo  spasimo  d'amorj 

Tosca 
Dilla  ancora 
la  parola  che  consola... 
dilla  ancora! 

Cavaradossi 

Si,  mia  vita,  amante  inquieta, 
diro  sempre:  "  Floria,  t'amo!" 
Se  la  dolce  anima  acquieta 
"  T'amo!"  sempre  ti  dird! 
Tosca 

(sclogliendosi,  pauro-ad'esser  vinta) 

Dio,  Dio!  quante  peccata! 
M'hai  tutta  spettinata. 

Cavaradossi 
Or  va  -  lasciami ! 

Tosca 

Tu  fino  a  stassera 

stai  11,  fermo  al  lavoro.  E  mi  prometti 
che  sia  caso  o  fortuna, 
sia  treccia  bionda  o  nera, 
a  pregar  non  verra,  donna  nessuna? 


ACT  I. 

Tosca 

(carried  away,  and  resting  her  head  on  his  bosom) 

Whether  thou'rt  false  or  faithful,  Mario, 

I  must  believe  thee. 

But  (maliciously)  let  her  eyes  be  black  ones  I 

Cavaradossi 

(tenderly) 

Jealous  darling! 

Tosca 
Yes,  I  feel  that  I  torment  thee  without  reason. 

Cavaradossi 

Jealous  darling! 

Tosca 

And  I  know  thou  wilt  forgive  me, 
for  I  hate  to  give  thee  pain. 

Cavaradossi 

My  Tosca,  dear  adored  one, 
ev'ry  mood  of  thine  is  charming  ; 
e'en  thy  anger  is  an  ecstacy  of  love  ! 

Tosca 

Oh,  repeat  those  words  consoling. 
If  you  love  me,  pray  repeat  them  ! 

Cavaradossi 

My  own  mistrustful  angel, 

I  shall  always  dearly  love  thee  I 

Yes,  anxious  spirit, 

1  shall  love  thee  till  I  die! 

Tosca 

Seel  it  is  really  disgraceful  1 
My  hair  is  quite  dishevelled. 

Cavaradossi 
Now  go  ;  leave  me. 

Tosca 

Continue  to  work  at  your  picture  till  nightfall, 
And  you  must  promise  that  no  pious  lady, 
no  fair  or  dusky  beauty, 
shall  be  admitted  here  on  any  pretext  1 


ATTO  PRIMO 


Cavaradossi 
Lo  giuro,  amore!...  -  Va! 
Tosca 

Quanto  mi  affretti! 
Cavaradossi 

(con  dolce  rimprovero  vedendo  rispuntare  la  gelosia) 

Ancora  ? 

Tosca 

(cadendo  nelle  sue  braccla  e  porgendogli  la  guanci*) 

No  -  perdona! 

Cavaradossi 

(sorridendo) 

Davanti  la  Madonna  ? 

Tosca 

E  tan  to  buona! 

(nn  bacio  e  Tosca  esce  correndo). 


CAVARADOSSI  -  ANGELOTTI. 

(Appena  uscita  Tosca,  Cavaradopsi  eta  afcoltaiidone  i  pass!  allontanarsi,  poi  con  pre 
canzione  eocchlode  1'uscio  e  guarda  fuori.  Vieto  tutto  traDquillo,  corre  alia 
Cappella.  Angellotti  appsre  snbito  dietro  la  cancellata). 

Cavaradossi 

(aprendo  la  cancellata  ad  Angelotti,  che  naturalment  ha  dovuto  udire  11  dialogo  pre 
cedente)  % 

E  buona  la  mia  Tosca,  ma  credente 

al  confessore  nulla  tien  celato, 

ond'io  mi  tacqui.     E  cosa  piii  prudente. 

Angelotti 
Siam  soli  ? 

Cavaradossi 
SI.  Qual'6  il  vostro  disegno  ? 

Angelotti 

A  norma  degli  erenti,  uscir  di  Stato 
o  star  celato  in  Roma.     Mia  sorella.. 

Cavaradossi 
L'Attavanti  ? 

Angelotti 

SI,...  ascose  un  muliebre 
abbigliamento  la  sotto  1'altare... 
vesti,  velo,  ventaglio.     Appena  imbruni 
indosserd  quei  panni... 


Cavaradossi 
I  promise,  beloved!...     Go! 

Tosca 
Why  should  I  hurry? 

Cavaradossi 

(reproachfully) 

Again,  love? 

Tosca 

(falls  iuto  his  arms) 

No!  forgive  me! 

(offers  her  cheek  to  hie  lipe) 

Cavaradossi 

(jestingly) 

Before  the  good  Madonna  ? 
Tosca 

(saluting  the  image) 

She  won't  be  angry  ! 

(about  to  leave,  she  again  gazes  at  the  picture,  and  says  malir-'euily) 

But  let  her  eyes  be  black  ones  ! 

exit  hastily.    Cavaradossi  remains  on  the  stage,  plunged  in  thought.    Remem 

Angelotti,  he  listens  to  Tosca's  retreating  stvps>,  opens  the  side-door  and  looks  on 
Seeing  thatalli»quiet,he  hurries  bark  to  the  chapel.  Angelotti  appears  behind  the  rail- 
ings, which  Cavaradossi  opens,  letting  Angelotti  out  of  the  chapel.    They  shake  hand* 
affectionately) 

Cavaradossi 

(to  Angelotti,  who,  of  course,  has  heard  the  preceding  conversation) 

My  Tosca  is  true-hearted,  but  indiscreet. 

She  cannot  keep  a  secret  from  her  old  Confessor. 

So  I  deemed  'twere  wiser 

to  keep  your  counsel  strictly. 

Angelotti 
Are  we  alone  ? 

Cavaradossi 

Yes.     What  plan  have  you  concocted  ? 

Angelotti 

As  prudence  shall  dictate,  I  shall  cross  the  frontier, 
or  lie  hidden  in  the  city...  My  sister... 

Cavaradossi 

The  Attavanti? 

Angelotti 

Yes...  Concealed  a  full  suit  of  woman's  garments, 
there,  under  the  altar... 
The  costume  lacks  nothing  essential... 

(looks  nervously  around  him) 

'Twill  serve  after  dark  as  a  disguise. 
What  say  you  ? 


TOSCA 

Cavaradossi 

Ora  comprendol 
Quel  fare  circospetto 
e  il  pregante  fervore 
in  giovin  donna  e  bella 
m'avean  messo  in  sospetto 
di  qualche  occulto  amorel... 
Era  amor  di  sorella! 

Angelotti 
Tutto  ella  ha  osato 
onde  sottrarmi  a  Scarpia  scellerato! 

Cavaradossi 

Scarpia  ? !  Bigotto  satiro  che  affina 
colle  devote  pratiche  -  la  foia 
libertina  -  e  struraento 
al  lascivo  talento 
fa  il  confessore  e  il  boia  I 
Vi  salvero,  ne  andasse  della  vita  ! 
Ma  indugiar  fino  a  notte  e  mal  sicuro. 

Angelotti 
Temo  del  sole  ! 

Cavaradossi 

(indicando) 

La  cappella  mette 

ad  un  oroto  mal  chiuso  -  indi  un  canneto 
mena  lungi  pei  campi  a  una  mia  villa. 

Angelotti 
Mi  e  nota. 

Cavaradossi 

Ecco  la  chiave  -  innanzi  sera 
io  vi  raggiungo  -  portate  con  voi 
le  vesti  femminili. 

Angelotti 

(raccoglie  in  fascio  le  vestimenta  sotto  1'altare) 

Ch'io  le  indossi? 
Cavaradossi 
Per  or  non  monta,  il  sentiero  e  deserto. 

Angelotti 

(peruecire) 

Addio  I 


Cavaradossi 

Let  us  hope  so  !     Such  circumspect  demeanour, 

and  devoutness  so  prayerful, 

in  such  a  youthful  beauty;  I  fancied  these 

were  symptoms  of  some  subtle  love  intrigue  !... 

Bow  I  wronged  her  !     She  was  trying  to  save  you  1 

Angelotti 

Reckless  of  danger,  she  strove 
to  rescue  me  from  Scarpia's  clutches. 

Cavaradossi 

Scarpia  ? 

A  bigoted  satyr  and  hypocrite, 
secretly  steeped  in  vice  and  most  demonstratively 
pious  ;  sanctimonious,  lascivious,  and  cruel ; 
a  cross  'tween  confessor  and  hangman  ! 
(indignantly)— I'll  save  you,  should  it  cost  even  my  life  J 
To  delay  until  night  is  scarcely  prudent... 

Angelotti 
Daylight  affrights  me  !... 

Cavaradossi 

(pointing  towards  the  chapel) 

From  the  chapel-door  you  enter  a  garden. 
Thence  runs  a  roughish  path,  which, 
traversing  some  fields,  leads  to  my  villa... 

Angelotti 
I  know  it. 

Cavaradossi 

Here  is  the  door-key. 

Before  'tis  dark  I  will  rejoin  you.     Take  with  you 
the  clothes  here  concealed  by  your  fair  sister. 

Angelotti 

(picks  up  the  garments  hidden  under  the  altar) 

Must  I  wear  them  ? 

Cavaradossi 

I  think  you  need  not,  for  the  path  is  deserted. 

Angelotti 

(going  out) 

Farewell,  then  1 


ATTO  PRIMO 

Cavaradossi 

(accorrendo  verso  Angelotti) 

Se  urgesse  il  periglio,  correte 
al  pozzo  del  giardin.  L'acqua  e  nel  for.  do. 
ma  a  mezzo  della  canna    (e  sporgon  pietre 
ad  agevol  discesa)  un  picciol  varco 
guida  ad  un  antro  oscuro, 
rif  ugio  impenetrable  e  sicuro ! 

(nn  colpo  di  cannone  ;  i  due  ei  guardano  agitatissimi) 

Angelotti 
II  cannon  del  castello  ! 

Cavaradossi 

Fu  scoperta 
la  fuga  !  Or  Scarpia  i  suoi  sbirri  sguinzaglia  ! 

Angelotti 
Addio  ! 

Cavaradossi 

(con  subita  risoluzione) 

Con  voi  verrd.  Staremo  all'erta  ! 

Angelotti 
Odo  qualcun  ! 

Cavaradossi 

(con  entusiasmo) 

Se  ci  assalgon,  battaglia  ! 

(escono  rapidamente  dalla  Cappella). 


SAGRESTANO  -  ALLIEVI  E  CANTORI  DELLA  CAPPELLA  - 
CHIEBICI  -  CONFKATELLI. 

Sagrestano 

(entra  correndo,  tutto  scalmanato,  gridando) 

Sommo  giubilo,  Eccellenza  ! 

(guard*  vereo  1'impaJcato  e  rimane  sorpreso  di  non  trovarvi  neppure  questa  volta  11 

Non  c'e  piii !  Ne  son  dolente  ! 
Chi  contrista  un  miscredente 
si  guadagna  un'indulgenza  ! 

(accorrono  da  ogci  parte  chierici,  confratelli,  allievi  e  cantorl  della  Cappella.  Tuttf 
cottor  o  entrano  tnmnltaosamente) 

Tutta  qui  la  cantoria  ! 
Presto !... 

(altri  allievi  entrano  in  ritardo  e  alia  flue  el  radunano  tnttf) 


Cavaradossi 

(follows  him  hurriedly) 

Should  danger  be  urgent,  iake  refuge 
in  the  garden  well.     Just  half-way  down 
you  will  find  a  narrow  passage  connecting 
the  old  well  with  a  vast,  dark  cellar. 
There  hidden,  you  will  be  in  perfect  safety. 

(A  cannon-shot :  they  exchange  glances  of  alarm) 

Angelotti 
The  cannon  of  the  fortress  ! 

Cavaradossi 

Your  escape  is  discovered  ! 

Now  Scarpia  his  hounds  is  unleashing. 

Angelotti 

Farewell,  then ! 

Cavaradossi 

(resolutely) 

I'll  go  with  you.     We  will  evade  them ,! 

Angelotti 
I  hear  a  step  ! 

Cavaradossi 

(enthusiastically) 

We'll  show  fight  if  they  follow  ! 

(Exeunt  quickly  through  the  chapel) 
(Enter  Sacristan  hurriedly,  well-nigh  breathless,  exclaiming  :) 

Sacristan 

Glorious  news,  your  Excellency  ! 

(astounded  at  not  seeing  Cavaradossi  seated  before  the  easel) 

Now,  that's  a  pity  ! 
He  who  grieves  an  unbeliever  gains 
a  plenary  indulgence  I 

(Boys  rush  in  riotously  from  all  the  entrances.    Enter  Acolytes,  Penitents.  Choristei*. 
and  Pupils  of  the  Chapel) 

Sacristan 
Hither  all  the  singing  crew  !     Hither  \ 


TO8CA 

Allievi 

(colla  massima  confusione) 

Dove? 

Sagrestano 

In  SagreStia.    (epinge  alcuni  chlerici) 

Alcuni  Allievi 
Ma  che  avvenne  ? 

Sagrestano 

Nol  sapete  ? 
Bonaparte...  scellerato... 
Bonaparte... 

Altri  Allievi 
Ebben  ?     Che  fu  ? 

Sagrestano 
Fu  spennato,  sfracellato 
e  piombato  a  Belzebu! 

Allievi,  Cantori,  ecc. 
Chi  lo  dice  ?  ^ 

—  E  sogno ! 

—  E  f ola  ! 

Sagrestano 
E  veridica  parola 
or  ne  giunse  la  notizia  ! 
E  questa  sera 
gran  fiaccolata , 

veglia  di  gala  a  Palazzo  Farnese, 
ed  un'apposita 
nuova  cantata 
con  Floria  Tosca ! 
E  nelle  chiese 
inni  al  Signore  ! 
Presto  a  vestirvi, 
non  piii  clamore  ! 

Tutti 

(ridendo  e  grldando  gioiosamente) 

Doppio  soldo...  Te  Deum...    Gloria/ 
Viva  il  Re !...  Si  festeggi  1    ''Htoria  1 


a  ken*  i- 

u_  _  _  -      _        .  J  - U-_T.-_~-  -  _        _  — ----—_-._.  -        -       -  •^H"" 

All 

Whither? 

Sacristan 
This  way,  good  people... 

(pushing  them  towards  the  Sacristy) 

All 

What  has  happened  ? 

Sacristan 

Don't  you  know  ?     Buonaparte... 
the  miscreant Buonaparte... 

All 

Well,  what  of  him? 

Sacristan 

Beaten,  crushed,  humiliated  ; 
Satan  has  him  on  the  hip  ! 

All 

Who  can  prove  it  ?     What  silly  nonsense  t 

Sacristan 

'Tis  the  truth,  I  do  assure  ye  ! 
Soon  the  news  will  be  made  public. 

All 

'Twill  be  hailed  with  loud  rejoicing  J 

Sacristan 

This  very  evening  there  will  be  great  doings, 

Gala  performance  and  torchlight  procession, 
A.lso  an  apposite  brand-new  cantata 
Sung  by  the  Floria  with  appropriate  expression* 

You  singing  boys 

Put  on  your  vestments,  make  no  more  noise. 
Off  !  off,  without  delay  ! 

All 

fltey  bur*?  >ut  laughing  and  pay  no  attention  to  the  Sacristan,  who  tries  in  vain  to 
drive  tt 


into  the  sacristy) 

Double  wages  !     Te  Deum,  gloria  ! 

Long  live  the  King  ! 

This  very  evening  there  will  be  great  doings, 
gala  performance,  torchlight  procession, 
a  brand-new  cantata  sung  by  Tosaa. 

Long  live  the  King  ! 
"Yes,  this  evening  there  will  be  great  do ... 

wenter  Scarpia  unexpectedly,  he  stands  in  the  doorway ;  seeing  him,  all  are  stricken 
dumb  and  n*v*tnAleM,  as  though  spell -bound) 


ATTO  PRIMO 


SOABPIA  -  SAGBESTAWQ  -  CANTOBI,  ALLIEVI,  ecc. 

SPOLET7A   -   BlBBI. 

(Le  loro  grida  e  1e  loro  ri»a  sono  al  eolmo,  allo£chd  una  voce  i  onica  tronca  brnsca. 
mente  quclla  gazzara  volgaredi  canti  e  risa.  E  £carpia:  dietro  a  lui  Spoletta  e  al 
cuni  abirri) 

Scarpia 
Un  tal  baccano  in  ehiesa!  Bel  rispetto! 

Sagrestano 

(balbettando  impaurito) 

Eccellenza,  il  gran  giubilo... 
Scarpia 

Appre  state 
per  il  Te  Deum. 

(tntti  si  allontanano  mogi:  anche  il  Sagrestano  fa  per  cavarsela,  ma  Scarpia  brusca- 
mente  lo  tratiiene) 

Tu  resta! 
Sagrestano 

(impaurito) 

Non  mi  muovo' 
Scarpia 

(:i  Spoletta) 

E  tu  va,  fruga  ogni  angolo,  raccogli 
ogni  traccia ! 

Spoletta 

Sta  bcne! 

(fa  cenno  a  due  sbirri  di  seguirlo) 

Scarpia 

(ad  altri  sbirri) 

Occhio  alle  porte, 
ma  senza  dar  sospetti! 

(ai  sagrcstano)  Qra  a  te.    Pesa 
e  tue  risposte.    Un  prigionier  di  State 
pur  or  f  uggito  di  Castel  Sant'Angelo 
s'£  rif  ugiato  qui. 

Sagrestano 
Misericordia! 

Scarpia 

Forse  c'e  ancora.  Dov'e  la  cappella 
degli  Attavanti  ? 

Sagrestano 

Eccola ! 

(va  al  cancello  e  lo  vede  eocchiuso) 

Aperta!  Arcangelil 
E...  un'altra  chiave  ! 


Scarpia 

(imperiously) 

Pray,  why  this  great  commotion  'if 
In  a  church,  too  ! 

(Spoletta  and  other  police-agents  follow  Scarpia) 

Sacristan 

(affrighted  and  stammering) 

Excellency...We  were  overjoyed... 

Scarpia 
Make  ready,  all,  for  the  Te  Deum. 

rhey  all  sneak  out,  and  the  Sacristan  is  about  to  follow  their  example,  wheu  Scsrpia 
bids  him  stay) 

Stay  here  1 

Sacristan 

(alarmed) 

I  obey  you  ! 

Scarpia 

(to  Spolietta) 

And  go  thou,  search  ev'ry  corner, 
took  sharply  about  you  ! 

Spoletta 

I  shall  so... 

Scarpia 

(signals  two  agents  to  follow  Spoletta) 

Watch  all  the  doorways. 

(to  other  agents  of  the  party) 

Arouse  no  suspicion. 

(to  the  Sacristan) 

Now  for  you  !     Answer  my  questions  truly. 
A  prisoner  of  State  escaped,  an  hour  ago, 
from  Fort  San  Angelo,  and  he  is  hidden  here... 

Sacristan 

Misericordia  ! 

Scarpia 

He  must  be  here  still. 

Which  chapel  bears  the  name  of  the  Attavanti  ? 

Sacristan 

This  is  it. 

(LTOCS  np  to  the  railing,  and  finds  it  unlocked) 

Tis  open  !     Archangels  1 
Jhis  key  is  a  new  one  ! 

(shows  kevl 


Scarpia 

Buon  indizio.  Entriamo. 

(entrano  nella  Cappella,  poi  ritomano:  Scarpia,  assal  contrariato,  ha  fra  le  man!  un 
ventaglio  chiuso  che  agita  nervosamente) 

Tardi !  Fu  grave  sbaglio 

quel  colpo  di  cannone.  II  mariolo 

spiccato  ha  il  volo,  ma  lascid  una  presa... 

preziosa  -  un  ventaglio. 

Qual  complice  il  misfatto 

preparo  ? 

Uesta  pensieroso,  poi  gnarda  attentamente  il  ventaglio;  a  un  tratto  eglt  vi  scorge  nno 
Btemina) 

La  marchesa 
Attavanti !...  II  suo  stemma... 

(guarda  intomo,  ecrutando  ogni  angolo  della  chiesa:  i  euoi  occhi  si  arrestano  suirim- 
"palcato,  sugli  uruc.-i  del  pittore,  8ul  quadro...  e  il  npto  viso  dell'Attavanti  gli  appare 
riprodotto  nel  volto  della  santa) 

II  suo  ri tratto  1 

(al  Sagrestano) 

Chi  fe'  quelle  pitture  ? 

Sagrestano 

II  cavaliere 
Cavaradossi. 

Scarpia 

Lui! 

frmo  dji  birri  che  segni  Scarpia,  torna  dalla  Cappella  portando  il  paniere  che  Cava 
radoesi  diede  ad  Angelotti) 

Sagrestano 

(vedendolo) 

Numi!  II  paniere! 
Scarpia 

(seguitando  le  sue  rifleBsioni) 

Lui!  L'amante  di  Tosca!  Un  uom  sospetto! 
Un  volterrian! 

Sagrestano 

(che  andd  a  guardare  11  paniere) 

Vuoto?  Vuoto! 
Scarpia 

Che  hai  detto  ? 

(vede  il  birro  col  paniere) 

Che  f u  ? 

Sagrestano 

(prendendo  il  paniere) 

Si  ritrovd  nella  cappella 
questo  panier. 


*  ACT  I. 

Scarpia 

That  gives  a  clue...     We  shall  see. 

(they  enter  the  chapel  and  return  promptly,  Scarpia  manifestly  annoyed,  holding  it  •Hla 
hand  a  closed  fan,  which  he  flutters  nervously) 

A  stupid  blunder  (aside)  that  gunshot  from 
the  fortress;  it  gave  the  criminal  timely- 
warning,  and  he  fled.     But  he  left  here 
this  bauble...     (waving  the  fan)     A  love  token. 
What  fair  accomplice  helped  him  to  escape  ? 

.Bunged  in  thought,  carefully  inspects  the  fan,  and  suddenly  catching  sight  of  a  coa* 
)f-arms,  exclaims) 

'Twas  the  fair  Attavanti !... 
These  are  her  arms... 

3ooks  around,  examining  every  nook  aud  corner  of  the  Church.  His  attention  is  caught 
by  the  scaffolding,  the  painter's  easel,  and  the  picture,  which  reproduces  the  well- 
known  face  of  the  Marchioness  Attavanti  in  a  counterfeit  presentment  of  Mary 
Magdalen) 

It  is  ho*  portrait. 

(to  the  Sacristan) 

Who  painted  that  picture  ? 
Sacristan 

(still  terror-stricken) 

Sir  Mario  Cavaradossi... 

Scarpia 

He! 

Sacristan 

(perceiving  a  police-agent,  who  issues  from  the  Chapel,  basket  in  handt 

Bless  me  !     'Tis  his  basket  I 
Scarpia 

(following  up  his  train  of  thought) 

He  1  The  lover  of  Tosca  ! 

A  man  suspected  !     An  unbeliever ! 

Sacristan 

(having  looked  inside  the  basket,  exclaims  in  great  acupriae) 

Empty  1  ... 

Scarpia 

(catching  sight  of  the  agent  and  the  basket) 

What  said'st  thou  ?    Speak  up  1 
Sacristan 

(takes  the  basket  from  the  agent) 

It  has  been  found  inside  the  Chapel, 
hidden  away. 


ATTO  PR1MO 


Scarpia 
Tu  lo  conosci  ? 

Sagrestano 

Certo! 

(6  esltante  e  pauroso) 

$]  il  cesto  del  pittor...  ma...  nondimeno... 

Scarpia 
Sputa  quello  che  sai. 

Sagrestano 

10  lo  lasciai  ripieno 
di  cibo  prelibato... 

11  pranzo  del  pittoreL. 

Scarpia 

(attento,  inquirente  per  scoprir  terreoo) 

Avr&  pranzato! 
Sagrestano 

Nella  cappella  ?  Non  ne  avea  la  chiave 
n£  contava  pranzar...  eisse  egli  stesso. 
Ond'io  gia  1'avea  messo 
qual  mia  spoglia  al  riparo. 

(mostra  dove  avea  ripoeto  il  paniere  e  ve  lo  laecia) 

Scarpia 
(Tutto  e  chiaro... 
la  provvista  -  del  sacrista 
d'  Angelotti  fu  la  preda  !) 

(scorgendo  Tosca  che  entra  frettoloso) 

Toaca  ?  Che  non  mi  veda. 

(ripara  dietro  la  colonna  dov'6  la  pila  dell'acqna  benedetia) 

(Per  ridurre  un  geloso  allo  sbaraglio 

A  Jago  un  fazzoletto  -  a  me  un  v^entaglio  !) 


TOSCA  -  SCARPIA  -  SAGRESTAXO. 
Tosca 

fcorre  al  palco  sicura  di  trovare  Cavaradossi  e  sorpreaa  di  non  vederk>) 

Mario?!  Mario?  ! 

Sagrestano 

(che  hi  trova  al  piedi  deU'impalcato) 

II  pittore 
Cavaradossi  ? 

Chi  sa  dove  sia 
1'eretico  e  con  chi  ? 
Sgattaiol6,  svanl 
per  sua  stregoneria.  (e  ee  la  evign«) 


AC*  L  « 

Scarpia 

Dost  recognise  it  ? 

Sacristan 
Doubtless  !     It  is  the  painter's  basket.... 

(stammering  timidly) 

but  ...  notwithstanding.... 
Scarpia 

(vehemently) 

Spit  out  all  that  you  know  ! 
Sacristan 

(still  affrighted,  tearfully  holds  up  the  empty  basket) 

I  brought  it  hither, 

filled  with  the  best  of  food  and  liquor... 

The  painter's  mid-day  meal ... 

Scarpia 

(significantly) 

Which  he  has  eaten  ! 

Sacristan 

(making  a  negative  gesture) 

Not  in  the  Chapel ! 

for  he  had  not  the  key,  nor  did  he 

mean  to  eat  at  all  ...  at  least,  so  he  told  me. 

Hence  I  had  set  it  down  there, 

(pcinta  to  the  place  where  he  had  left  the  full  basket) 

'neath  the  easel. 

(Painfully  impressed  by  Scarpia's  stem  and  silent  bearing) 

(Deliver  us  from  temptation  !)  (to  himself) 
Scarpia 

(aside) 

'Tis  clear  as  daylight ...     The  provisions 

of  the  Sacristan  were  devoured  by  Angelotti. 

TJnter  Tosca  nervously  ;  she  walkes  straight  np  to  the  scaffolding.  Not  finding 
Cavaradossi  there,  in  .rreat  agitation,  she  searches  for  him  in  the  central  nave  of  the 
church  Scarpia,  as  soon  as  he  sees  her  come  in,  instantly  hides  behind  the  pillar  to 
which  the  holy-water  trough  is  affixed,  imperatively  signalling  the  Sacristan  to  stay 
where  he  is  The  Sacristan,  trembling  w  ith  confusion,  stands  near  the  paluter's  dais), 

Tosca  !     She  must  not  see  me. 

Twas  a  'kerchief  lit  Othello's  jealous  fire, 

Now  shall  this  fragile  fan  rouse  Tosca's  ire  1 

Tosca 

(returns  to  the  dais,  calling  out  loudly  and  impatiently) 

Mario  !     Mario  ! 

Sacristan 

(approaching  her) 

Do  you  mean  Cavaradossi  ? 
Where  he  is,  who  can  say  ? 
Obedient  to  some  spell,  he  vanished  clean  away. 

(exit  furtively) 


Tosca 

Ingannata?  No...  no... 
tradirmi  egli  non  puo  ! 

Scarpia 

la  girato  la  colonna  e  el  prescnta  a  Tosca,  porpresa  del  suo  snblto  apparire.  Intingc 
le  dita  nella  pila  e  le  oflre  1'acqua  benedetta ;  f  uori  euonano  le  campanp  che 
invitano  alia  chiesa). 

Tosca  divina 
la  mano  mia 

la  vostra  aspetta  -  piccola  inanina, 
non  per  galanteria 
ma  per  offrirvi  1'acqua  benedetta. 
Tosca 

(tocca  le  dita  di  Scarpia  e  si  fa  il  segno  della  croce) 

Grazie,  signer  ! 

(_  oco  a  poco  entrauo  in  chiesa,  e  vanno  nella  navata  principale,  popolani,  borghesi, 
ctociare,  trasteverine,  soldati,  pecorari,  ciocinri,  mendicanti,  ecc.:  poi  un  t'ardiuale, 
col  Capitolo,  si  reca  nil 'alt are  magglore  ;  la  folia,  rivolta  verso  1'altare  maggiore, 
«i  accalca  nella  navata  principale). 

Scarpia 
Un  nobile 

esempio  il  vostro  -  al  cielo 
piena  di  santo  zelo 
attingete  dell'arte  il  raagistero 
che  la  fede  ravviva  ! 

Tosca 

(distratta  e  pensosa) 

Bont&  vostra. 

Scarpia 

Le  pie  donne  son  rare... 
Voi  calcate  la  scena... 

(con  intenzione) 

ma  in  chiesa  ci  venite  per  pregare. 
Tosca 

(sorpresa) 
Che  intendete  ? 

Scarpia 
£  non  fate 
Come  certe  sfrontate 
che  hanno  di  Maddalena  (indica  ii  ntratt*) 
viso  e  costumi...  e  vi  trescan  d'amorel 
Tosca 

(scatta  pronta) 

vhe  ?  D'amore  ?  Le  prove! 


»  ACT  L 

Tosca 

Has  he  betrayed  me  ?    No  ! 
To  me  he  could  not  be  untrue. 

Scarpia 

tturu-  round  the  pillar,  dips  his  fingers  in  the  trough,  and  offers  holy  water  to  Tosca 
Bells  ring  to  church) 

Tosca  divinest, 

(gently  asd  insinuatingly) 

your  dainty  hand,  that  milk-white  wonder, 

lend  me  for  a  moment,  that  I  may  lightly  touch  it 

with  my  uncouth  fingers  dipped  in  holy  water ... 

Tosca 

(touches  Scarpia's  fingers,  and  crosses  herselt) 

Thanks,  many  thanks  ! 

Scarpia 

No  woman  alive  does  nobler  work  than  you. 
From  heaven,  teeming  with  fervid  sanctity, 
you  conjure  to  earth  the  sacred  raptures 
that  give  life  to  religion. 

Tosca 

(thoughtful  and  inattentive) 

Spare  my  blushes. 

(Several  people  enter  the  church  and  gather  together  up  the  stage) 

Scarpia 

Pious  songsters  are  rare, 
But  you,  the  star  of  the  lyric  stage, 

Hither  come  to  bend  your  knees  in  prayer. 

(Bells  ring  to  church) 

Tosca 

(surprised) 

What  mean  you  ? 

Scarpia 
You  are  not  like  certain  frivolous  wantons ; 

(points  to  the  portrait) 

Magdalens  they  simulate  profanely, 

and  come  here  to  meet  their  lovers.   (Emphatically.) 

Tosca 

(starting) 

How  ?    Their  lovers  ?    What  mean  you  ? 


PRIMO 


Scarpia 

(mostra  11  ventag 

E  arnese  di  pittore 
questo  ? 

Tosca 

(lo  afferra) 

Un  ventaglio?    Dove 
stava? 

Scarpia 

La  su  quel  palco.     Qualcun  venne 
certo  a  sturbar  gli  amanti 
ed  essa  nel  fuggir  perde  le  penne! 

Tosca 

(csaminando  il  ventaglio) 

La  corona!    Lo  stemma!     E  1'Attavantil 
Ah  presago  sospetto! 

Scarpia 
(Ho  sortito  1'effetto!) 

Tosca 

(trattenendo  a  stento  ]e  lagrime,  dimentlca  del  luogo  e  di  Scarpia) 

Ed  io  venivo  a  lui  tutta  dogliosa 

per  dirgli:  invan  stassera 

ai  sospirosi  amanti  il  ciel  s'infosca 

1'innamorata  Tosca 

del  regali  tripudi  e  prigioniera!... 

Scarpia 
il  veleno  1'ha  rosa.) 

(mellifluo  a  Toecal) 

O  che  v'offende, 
dolce  signora  ? 
Una  ribelle 
lacrima  scende 
sovra  le  belle 
guancie  e  le  irroraj 
dolce  signora, 
che  mai  v'accora? 
Tosca 


ACT  I,  90 

Scarpia 

(showing  her  the  fan) 

Is  this  a  painter's  brush  or  mahlstick  f 
Tosca 

(seizing  it) 

Tis  a  fan  !     Where  did  you  find  it  ? 
Scarpia 

There,  on  the  easel.       (Enter  the  peasants) 

Some  casual  worshippers  disturbed  the  lovers, 

and  in  her  hasty  flight  she  dropoed  some  feathers !.. 

Tosca 

(examining  the  fan) 

A  coronel  1      Her  arms,  too  ! 

'Tis  Attavauti's  !     Prophetic  suspicion  ! 

Scarpia 
'aside      My  -le*igu  has  succeeded  J 

Tosca 

'jwrrowfnlly,  restraining  her  tears  with  difficulty,  forgetful  of  the  locality  and  of  Scarpia) 

And  I  who  sought  him  here,  oppressed  with  sorrow, 
To  say  I  could  not  meet  him  till  to-morrow... 
That  Tosca,  to  her  grief  and  consternation, 
Would  have  to  figure  at  this  evening's  celebration,. 

Scarpia 
(aside)    How  the  poison  is  working ! 

(enter  groups  of  peasants,  carters,  etc.) 

(gently)    What  has  aggrieved  you, 

Sweetest  of  creatures  ?... 
Say,  has  some  traitor  basely  deceived  you, 

That  tears  bedew  those  exquisite  features  ? 
Tell  me,  fair  Tosca,  what  has  aggrieved  you* 

Tosca 

Nothing ! 


M  T&SCA. ^ 

Scarpia 

(insinnante) 

lo  darei  la  vita 
per  asciugar  quel  pianto. 

Tosca 

(non  ascoltandolo) 

lo  qui  mi  struggo  e  intanto 

d'altra  in  braccio  ei  le  mie  smanie  deride  J 

Scarpia 
(Morde  il  veleno.) 

Tosca 

(sempre  piu  crucciosa) 

Dove  son  ?  Potessi 

coglierli  i  traditori.    Oh  qual  sospettol 
Ai  doppi  amori 
£  la  villa  ricetto. 

(con  immense  dolore) 

Oh  mio  bel  nido  insozzato  di  fango! 

(con  pronta  risoluzione) 

Vi  piomberd  inattesa. 

(rivolta  al  quadro,  minacciosa) 

Tu  non  1'avrai  stanotte.  Giuro! 
Scarpia 

(gcandolezzato,  quasi  rimproverandola) 

In  chiesal 
Tosca 

Dio  mi  perdona.  Egli  vede  ch'io  piango! 

(parte  .'n  grande  agltazione:    Scarpia  1'accompagna,  fingendo  di  raesicurarla.    Appena 
nscita  Tosca,  Scarpia  ritorna  preseo  la  colonna  e  fa  un  cenno). 


Scarpia 

(a  Spoletta  che  sbnca  di  dietro  la  colonna) 

Tre  sbirri...  Presto  -  seguila 

dovunque  vada...  non  visto...  e  provvedi! 

Spoletta 
Basta.  D  convegno  ? 

Scarpia 

A  Palazzo  Farnese ! 

QBpoletU  parte  rapidamente  con  tre  abirri) 


M  ACT  1. 

Scarpia 

My  life  I'd  give,  could  I  mitigate  your  anguish. 
Tosca 

(not  listening  to  him) 

And  here  in  grief  I  must  languish, 

While,  embraced  in  other  arms,  he  derides  me  ! 

Scarpia 
(Well  works  the  poison  !)  (aside) 

Tosca 

Where  am  I? 

(A  few  citizens  stroll  In) 

How  could  I  think  he  would  yield  to  temptation  ? 

My  pretty  villa  !   (angrily) 
Must  I  submit  to  its  vile  profanation  ? 

Cruel  Mario ! 
In  mire  my  nest  of  love  they  have  been  steeping  J 

(resolutely) 

I'll  purge  it  of  their  vileue'ss  ! 

(tarns  threateningly  towards  tha  picture) 

To-night  thou  shalt  not  possess  him  1 

(desperately) 

I  swear  it ! 

Scarpia 

(scandalised) 

In  church  1     Fie  I 

Tosca 

(weeping) 

God  will  forgive  me,  for  He  sees  I  am  weeping  J 

(•obs  bitterly.  Scarpia  accompanies  her  to  the  door,  pretending  to  reassure  her.  After 
her  exit,  the  church  becomes  gradually  fuller  and  fuller.  Having  escorted  Tosca  to 
the  church-door,  Scarpia  returns  to  the  chapel-sate  and  makes  a  sign,  in  obedience  to 
which  Spoletta  issues  from  behind  the  pillar.  The  crowd  withdraws  to  the  back  ^* 
the  church,  awaiting  the  Cardinal;  some  kneel  down  and  pray) 

Scarpia 

Three  agents,  and  a  close  carriage...     Quickly... 
follow  her  whithersoever  she  may  go...     Be  careful  J 

Spoletta 
I  will  Where  shall  I  find  you  ? 

Scarpia 
At  the  Farneee  Palace ! 

(Exit  Spoletta  hurriedly.    S carpi* -mU  »  .ardoaicfcllf) 


ATTO  PRIMO 


Va,  Tosca  !  Nel  tuo  cuor  s'annida  Scarpia. 

Egli  ti  segue  e  ti  sospinge.  l£  Scarpia 

che  scioglie  a  volo  il  falco 

della  tua  gelosia.  Quanta  promessa 

nel  tuo  pronto  sospetto  !  A  doppia  mira 

tendo  il  vcler,  n£  il  capo  del  ribelle 

6  la  piii  prez'iosa.  Ah  di  quegli  occhi 

vittoriosi  vedere  la  fiaroma 

illanguidir  nello  spasmo  d'amore  ! 

La  doppia  preda  avr6.  L'uno  al  capestro, 

1'altra  fra  le  mie  braccia...  me  ne  affida 

i'invincibil  deslo... 

(1  canto  eacro  dal  'ondo  della  chlesa  lo  scuote,  come  svegliandolo  da  an  eogno. 
mett<!.  fa  il  segno  della  croce  guardandosi  intorno,  e  dice:) 

Tosca,  mi  fai  dimenticare  Iddio  ! 

(s'lnginccchia  a  nrega  devotamente). 


ACT  I.  26 

Go,  Tosca  !   There  is  room  in  your  heart  for  Scarpia .. 

(The  Cardinal  and  his  following  advance  to  the  high  altar  ;  the  SWISH  Guards  divide  the 
crowd,  which  ranges  itself  on  either  Bide  of  the  procession.    Organ  plays) 

Go,  Tosca  !     For  Scarpia  it  is  who  has  fired 
your  soul  and  stirred  up  your  jealous  passion. 

(Cannon  fired) 

Infinite  promise  lies  in  your  hasty  suspicions. 
There  is  room  in  your  heart  for  Scarpia... 

(ironically) 

Go,  Tosca  ! 

(He  bows  reverently  as  the  Cardinal  passes  by,  blessing  the  kneeling  throng) 

(Fiercely)  Twofold  the  purpose  now  I  entertain, 

and  the  hanging  of  that  rebel 

is  by  no  means  my  chief  desire... 

'Tis  in  her  gay,  triumphant  eyes  that 

I  hope  soon  to  kindle  love's  languid  flame, 

when  in  my  arms  she  is  clasped, 

mute  with  fond  rapture,  giddy  with  am'rous  joy. 

(Savagely)   One  to  the  scaffold,  and 

the  other  to  my  foud  arms... 

[The  whole  crowd  turns  towards  the  high  altar.    Many  kneel.    Scarpia  stand*  snwrapt 
in  thought,  then  starts,  as  in  a  dream) 

Tosca  !  for  thee  I  could  renounce 
my  hopes  of  heaven ! 

(With  religions  fervour,  kneeling) 

Te  csternum  Patrem,  etc. 

(puick  curtain) 


ATTO  SECONDO 


La  camera  di  Scarpia 
al  piano  superiore  del  Palazzo  Farnese. 

Tavola  imbandita.     Un'ampia  finestra  verso  il  cortile  del  Palazzo, 
fc  notte. 

Scarpia 

id  eedntoalla  tavola  e  vi  cena.   Interrompe  a  tratti  la  cena  per  riflettere.    Guarda  1*  or*. 
logic  :  d  smanioso  e  pensieroso) 

Tosca  &  un  buon  falco  !... 

Certo  a  quest'ora 

i  miei  segugi  le  due  prede  azzannano ! 

Doraan  sul  palco 

vedra  1'aurora 

Angelotti  e  il  bel  Mario  al  laccio  pendere. 

(siiona  -  entra  Sciarrone) 

Tosca  e  a  palazzo  ?... 

Sciarrone 

Un  ciambellan  ne  usciva 
pur  ora  in  traccia 

Scarpia 

(accenna  la  finestra) 

Apri.  -  Tarda  £  la  notte. 

(dal  piano  inferiore  -  c*-e  la  Reglna  di  Napoli,  Maria  Carolina,  da  una  grande  feet*  In 
onore  dl  Melas  -  ei  ode  il  suonure  di  un'orcheetra) 

Alia  cantata  ancor  manca  la  Diva, 
e  strimpellan  gavotte. 

(a  Sciarrone) 

Tu  attenderai  la  Tosca  in  sull'entrata; 
le  dirai  cb'io  1'aspetto 
finita  la  cantata... 
o  meglio... 

(si  alza  e  va  a  scrivere  in  fretta  un  biglietto) 

le  darai  questo  biglietto. 

(Sciarrone  escc) 


ACT  II. 


Scene:    The  Farnese  Palace. 

Scarpia's  apartments,  on  an  upper  floor.     The  table  is  laid  for  supper. 
A  large  window  overlooks  the  Palace  Courtyard.     Nightfall. 


(Scarpia  is  seated,  supping  and  breaking  off  at  intervals  to  reflect.    From  time  to  time 
he  looks  at  his  watch,  manifesting  agitation  and  disquietude.) 

Scarpia 

A  good  decoy  is  Tosca,  and,  by  this  time, 
ray  people  have  secured  the  two  conspirators. 
To-morrow's  sunrise  shall  see  them 
hanging  side  by  side  like  dogs, 
upon  my  tallest  gallows. 

(rings  a  hand-bell.    Enter  Sciarrone.) 

Is  Tosca  in  the  Palace?... 

Sciarrone 

A  page  has  been  despatched 
to  fetch  her  hither... 

Scarpia 

(to  Sciarrone,  pointing  to  the  window) 

Open! 

(An  orchestra  is  audible  in  a  lower  storey,  where  Queen  Caroline  is  giving  an  entw 
tainment  in  honour  of  General  Melas.) 

Late  is  the  hour...     For  Tosca 

they're  waiting  to  commence  the  Cantata, 

and  meanwhile  they  are  dancing,     (aside) 

(to  Sciarrone) 

You  will  await  the  Tosca  at  the  entrance, 
and  will  tell  her  I  expect  her 
at  the  end  of  the  Cantata... 

(He  recalls  Sciarrone,  who  is  going,  rises,  crosses  the  stage  to  a  high  desk,  and  bnr. 
riedly  writes  a  note,  handing  it  to  Sciarrone) 

"Re  sure  you  give  her  this  letter 


ATTO  SECONDO 


Scarpia 

(slede  ancora  a  tavoln) 

Ella  verra...  per  amor  del  suo  Mario! 

Per  amor  del  suo  Mario  al  pincer  raio 

s'arrendera.     Tal  dei  profondi  amori 

&  la  profonda  miseria.     Ha  piu  forte 

sapore  la  conquista  v'iolenta 

che  il  mellifluo  consenso.     lo  di  sospiri 

e  di  lattiginose  albe  lunari 

poco  mi  appago.     Non  so  trarre  accordi 

di  chitarra,  ne  or6scopo  di  fiori, 

ne  far  1'occhio  di  pesce,  o  tubar  come 

tOltora!    ^Izandoei) 

Bramo.  -  La  cosa  bramata 
perseguo,  me  ne  sazio  e  via  la  getto 
volto  a  nuova  esca.     Dio  creo  diverse 
belta  e  vini  diversi.     lo  vo'  gustare 
quauto  piu  posso  dell'opra  divina! 
(beve) 

Sciarrone 

(entrando) 

Spoletta  3  giunto. 

Scarpia 
Entri.    In  buon  punto. 


SCARTIA  -  SPOLETTA  -  SCTAKBONK. 
Scarpia 

(si  siede  e  tatt'occupato  a  cenare,  interroga  intaoto  Spoletta  senza  gnardarto) 

O  galantuomo,  come  ando  la  caccia?... 

Spoletta 

(Sant'  Ignazio  mi  aiuta!) 
Delia  signora  scguimmo  la  traccia. 
Giunti  a  un'erma  villetta 
tra  le  fratte  perduta 
ella  vi  entrd.     Ne  uscl  sola  ben  presto. 

10  allor  scavalco  lesto 

11  muro  del  giardin  co'  miei  cagnotti 
e  piombo  in  casa... 


Scarpia 

She  will  come.. .for  the  sake  of  her  Mario  1 

For  the  sake  of  her  Mario, 

she  will  comply  with  my  desire. 

Such  are  the  alterations  of  love's 

deep  joys  and  deep  sorrows. 

Keener  far  is  the  relish  of  a  forcible  conquest 

than  of  a  passive  surrender.     Sighs  of  entreaty 

and  sentimental  rhapsodies  by  moonlight 

do  not  delight  me.     I  am  not  skilled 

in  twanging  the  guitar,  nor  in 

fortune-telling  lore  ;  I  cannot  leer  nor  ogle, 

nor  coo  like  any  turtle-dove,     (disdainfully) 

(he  rises,  but  does  not  leave  the  table) 

Hence  must  I  strive  for  the  thing  I  desire, 
I  possess  it,  and  then  discard  it, 
turning  to  other  pleasures. 
God  created  beauty  and  wine  of  various 
merit ;  I  choose  to  taste  all  that  I  can 
of  the  heavenly  produce. 

(enter  Sciarrone) 

Sciarrone 
Here  is  Spoletta. 

Scarpia 

(loudly,  in  great  excitement) 

Bring  him  to  me  forthwith. 
Scarpia 

(resumes  his  seat.  Exit  Sciarrone  to  summon  Spoletta,  who  returns  with  him  and  takos 
up  his  stand  near  entrance  C.  Busy  with  his  supper,  Scarpia  interrogates  Spoletu 
without  looking  at  him) 

Well,  my  fine  fellow. 
Spoletta 

(coming  forward  nervously) 

Saint  Ignatius  protect  me  !     (aside) 
(aloud)        Quickly  we  followed  the  track  of  the  lady. 

Soon  we  arrived  at  a  villa  almost  hidden  by  foliage  ; 
Madam  went  in,  and  came  out  again  promptly. 
Straightway  I  lightly  scaled  the  coping  of  the  wall 
with  my  companions,  and  entered  the  garden... 


Scarpia 

Quel  bravo  Spoletta! 

Spoletta 

(esitando) 

FiutoL.     vazzoloL.     frugo!... 
Scarpia 

felawededell'lndeclsionedi  Spoletta  e  si  leva  ritto,  pallido  rt'ira,  le  ciglia  corrugate) 

Ahi!  1'Angelotti  r... 
Spoletta 
Non  s'e  trovato. 

Scarpia 

(furente) 

Ah  cane!     Ah  traditore! 
Ceffo  di  basilisco, 
alle  forche!... 

Spoletta 

Gesu! 

(cercando  scongiurare  la  collera  di  Scarpia) 

C'era  il  pittore... 
Scarpia 
Cavaradossi  ? 

Spoletta 

(accenna  di  si,  ed  aggiange  pronto) 

Ei  sa 

dove  1'altro  s'asconde.    Ogni  suo  gesto 
ogni  accento,  tradla 
tal  beffarda  ironia, 
ch'io  lo  trassi  in  arresto! 
Scarpia 

(con  eoepiro  di  eoddiafazione) 

Meno  male! 

Spoletta 

(acenna  all'anticamera) 

Egli  e  1&. 

f Scarpia  passeggiameditando:  aun  tratto  siarreBta:  dall'aperta  flnestra  odeei  Ja  Can 
tata  eseguita  dai  Cori  nella  eala  della  Regina). 

Scarpia 

(a  Spoletta) 

Introducete  il  Cavaliere.    (Spoletta  esce) 

(a  Sciarrone)  A  me 

Robert!  e  il  Giudice  del  Fisco. 

(Sciarrone  oece;  Scarpia  eiede  dl  nnOTO). 


SW  ACT  H. 

Scarpia 

Well  done,  good  Spoletta  ! 

Spoletta 

(hesitantly) 

Vainly  we  searched  the  house... 
Scarpia 

(perceiving  Spoletta's  embarrassment,  arises,  pale  with  anger,  and  frowning  formidably) 

All  I  Angelotti  ? 

Spoletta 
We  could  not  find  him  ! 

Scarpia 

Base  scoundrel !     Vilest  of  traitors  1 
Spawn  of  the  fiend  incarnate  1 

tO  the  galloWS  !      (furiously) 

Spoletta 
Good  Lord  1 

(trying  to  assuage  Scarpia's  wrath,  says  timidly) 

The  painter  was  there... 
Scarpia 

(interrupting  him) 

Cavaradossi  ? 
Spoletta 

(nodding  affirmatively) 

He  knows  where  the  other  one  is  hidden... 

His  scornful  gestures,  his  contemptuous  scoffings 

aroused  my  suspicions  ;  so  I  put  him  in  irons... 

Scarpia 

You  did  wisely. 

(Spoletta  is  evidently  relieved,  Scarpia  walks  about  thoughtfully,  then  suddenly  stands 
still,  hearing  through  the  open  window  the  cantata  executed  by  the  choirs  assembled 
in  the  Queen's  reception-rooms.  The  singing  proves  that  Tosca  has  returned  and  ia 
actually  in  the  Palace,  on  the  storey  beneath  Scaipia's  apartments) 

Spoletta 

tpointing  towards  the  ante-room) 

He  is  there  1 

Scarpia 

(suddenly  struck  by  an  idea) 

Bring  in  the  prisoner  straightway. 

(exit  Spoletta) 

(To  sciaronne)  Hither  Roberti  and  the  Judge  of  the  Exchequer. 

(resumes  his  seat.  Spoletta  and  three  police-agents  bring  in  Cavaradossi.  Enter  Roberti 
the  executioner,  an  Exchequer  Judge  with  his  clerk,  and  Sciarrone) 


ATTO  SECONDO 


SPOLETTA  e  qualro  birri  introducono  MAKIO  CAVAKADOSSL 
Poi  ROBEKTI,   esecutore  di    Gtustizfa,   il  GIUDICE  DEL 
Fisco  con  uno  SCRIVANO  e  SCIARSONE. 
Cavaradossi 

(alteraraente) 

Tale  violenza!... 

Scarpia 

(con  studiata  cortesia) 

Cavalier,  vi  j)iaccia 
accomodarvi. 

Cavaradossi 
Vo'  saper... 

Scarpia 

(accennando  una  Bedia  al  lato  opposto  della  tavola) 

Sedete. 
Cavaradossi 

(riflutando) 

Aspetto. 

Scarpia 
E  sia!  —  Vi  e  noto  che  un  prigione... 

(odesi  la  voce  di  Tosca  che  Prende  parte  alia  Cantata) 

Cavaradossi 
La  sua  voce!... 

Scarpia 

(che  si  era  interrotto  all'udire  la  voce  di  Tosca,  riprende) 

...vi  6  noto  che  un  prigione 
oggi  e  fuggito  di  Castel  Sant'Angelo  ? 

Cavaradossi 
Ignoro. 

Scarpia 

Eppur  si  pretende  che  voi 
1'abbiate  accolto  in  Sant' Andrea,  provvisto 
di  cibo  e  vesti... 

Cavaradossi 

(rfsoluto) 

Mcnzogna! 
Scarpia 

(contlnuando  a  mantenerei  calmo) 

...e  guidato 
ad  un  vostro  podere  suburbano. 

Cavaradossi 
Nego.  -  Le  prove  ? 


ACT  II. 

Cavaradossi 

(angrily) 

Why  this  outrage  ? 

Scarpia 

(with  elaborate  courtesy) 

Noble  sir,  I  beg  you  to  be  seated... 
Cavaradossi 

(firmly) 

1  wish  to  know... 

Scarpia 

(pointing  to  a  chair  on  the  other  side  of  the  table) 

Be  seated... 
Cavaradossi 

(refusing) 

No,  thank  you. 

Scarpia 

As  you  please. 

(looks  steadfastly  at  Cavaradossi  before  questioning  him) 

To-day  escaped  from  prison — 

(breaking  off  at  the  sound  of  Tosca's  voice  singing  in  the  cantata) 

Cavaradossi 

'TlS  her  voice  !...    (hearing  Tosca) 

Scarpia 

(resuming) 

To-day  escaped  from  prison  one  whom 
you  know  to  be  a  dangerous  criminal. 

Cavaradossi 
I  know  nothing ! 

Scarpia 

And  yet  it  is  alleged  that  you  concealed 
him  in  the  Church  of  Sant'  Andrea,  and 
provided  him  with  food  and  with  raiment... 

Cavaradossi 

(resolutely) 

Mere  falsehoods  ! 

Scarpia 

(preserving  a  calm  demeanour) 

Later  on,  you  conveyed  him  to  a 
villa  in  the  suburbs... 

Cavaradossi 
I  deny  it.     Who  says  so  ? 


Scarpia 

(mellifluo) 

Un  suddito  fedele... 
Cavaradossi 

Al  f atto.  Chi  mi  accusa  ?  I  vostri  birri 
frugaro  invan  tutta  la  villa. 

Scarpia 

Segno 
che  &  ben  celato 

Cavaradossi 

Sospetti  di  epia! 

Spoletta 

(offeHO,  interviene) 

Alle  nostre  ricerche  egli  sidcva... 

Cavaradossi 
E  rido  ancor. 

Scarpia 

(con  accento  severe) 

Questo  £  luogo  di  lacrime! 

'si  alzae  chiude  stizzito  la  finest ra  per  non  eisere  disturbato  dai  canti  che  hanno  Inogc 
nel  piano  sottostante:  poi  si  volge  imperioso  a  Cavaradossi:) 

Ov'e  Angelotti? 

Cavaradossi 

Non  lo  so. 

Scarpia 

Negate 
avergli  dato  cibo  ? 

Cavaradossi 

Nego! 

Scarpia 

E  vesti? 

Cavaradossi 
Nego! 

Scarpia 
Ed  asilo  alia  villa  ? 

Cavaradossi 

Nego! 
Scarpia 
E  che  la  sia  nascosto  ? 

Cavaradossi 

(con  forza) 

Nego!  negol 


w  ACT  XL 

Scarpia 

(mildly) 

A  faithful,  honest  servant... 

Cavaradossi 

To  the  purpose.     My  accuser  ? 
In  vain  (ironically)  your  myrmidons  hav« 
searched  the  villa. 

Scarpia 

Proving  he  was  well  hidden. 

Cavaradossi 

Tour  spies  could  not  find  him  1 
Spoletta 

(interposes,  offended) 

Scoffing  and  sneering,  he  laughed  at  all 
our  endeavours... 

Cavaradossi 

And  still  he  laughs. 

Scarpia 

(rising  in  anger) 

This  is  no  place  for  merriment !     (threateningly) 
I  warn  you  !     Enough  now  '     (nervously) 
Answer  truly  \ 

^disturbed   and   annoyed   by   the   singincj,  he   closes   the   window.    Imperiously   U 
Cavaradossi) 

Where  is  Angelotti  ? 
Cavaradossi 
I  do  not  know. 

Scarpia 
You  never  with  food  and  drink  supplied  him  ? 

Cavaradossi 
Never  I 

Scarpia 

Nor  with  garments  ? 

Cavaradossi 

Never  1 

Scarpia 

Nor  concealed  him  la  your  villa, 
where  he  still  lies  hidden  ? 

Cavaradossi 

(vehemently) 

Never!    Never! 


ATTO  SBCONDO 


Scarpia 

(aetntamente,  ritornando  calmo) 

Via,  Cavalier,  pensateci:  1'uom  saggio 
piega  alia  k'gge...  armata.  Una  sollecita 
confessione  pud  cansar  dal  vostro 
capo  molte  sciagure.  Date  rctta: 
dov'e  Angelotti  ? 

Cavaradossi 

Non  lo  so. 
Scarpia 

Badate! 
L'ultima  volta.  Dov'e  ? 

Cavaradossi 

Non  lo  sol 

Spoletta 
(O  bei  tratti  di  cord  a!) 

TOSCA,  entra  affannosa. 
Scarpia 

(vedendo  Tosca) 

(Eccola!) 
Tosca 

(vede  Cavaradossi  e  corre  ad  abbracciarlo) 

Mario, 
tu  qui  ? ! 

Cavaradossi 

(sommessamente) 

(Di  quanto  1&  vedesti,  taci, 
o  m'uccidi!...) 

(Tosca  accenna  che  ha  capita) 

Scarpia 

(con  solennita) 

Mario  Cavaradossi, 
qual  testimomo  il  Giudice  vi  aspetta. 

(a  Robertl) 

Pria  le  forme  ordinarie.  -  Indi...  a  miei  cenni. 

flSciarrone  apre  1'uscio  che  da  alia  camera  della  tortnra.  II  Giudice  vi  entra  e  gli  altri 
lo  segaono,  rimanendo  Tosca  e  Scarpia.  Spolettu  ai  ritira  presso  alia  porta  in  f ondo 
aUsala) 

Scarpia 

E<1  or  f  ra  noi  parliamo  da  buoni  amici.  Via 

quell 'aria  Sgomenta...  (accenna  a  Tosca  di  Bederev 


ACT  IJL  M 

Scarpia 

(almost  paternally) 

I  pray  you,  give  my  words  attention  ; 

stubbornness  such  as  yours  is  far  from  wise, 

believe  me.     By  frank  confession 

you  may  avert  the  pain  that  else  awaits  you. 

Let  me  advise  you  ;  tell  me  ; 

where  is  now  Angelotti  ? 

Cavaradossi 
I  don't  know. 

Scarpia 

Once  more,  and  for  the  last  time. 
Where  is  lie  ? 

Cavaradossi 
I  know  not  ! 

Spoletta 

(aside) 

(How  he  tightens  his  clutches  !) 

(Enter  Tosca  in  alarm;  she  runs  up  to  Cavaradossi  and  embraces  him) 

Tosca 
Mario  !  thou  here  ! 

Cavaradossi 

(under  his  breath  to  Tosca,  who  makes  signs  that  she  understands) 

Say  nothing  of  what  you  have  seen  there, 
or  you  will  kill  me  ! 

Scarpia 

Mario  Cavaradossi,  the  judge  is 
waiting  to  take  your  deposition. 

(signals  Sciarrone  to  open  the  entrance  to  the  torture-chamber,  and  turns  to  Robert!) 

First  the  usual  pressure  ;  later,  as  I  instruct  you... 

(The  judge  pa-ses  into  the  torture-chamber,  and  the  others  follow  him,  only  Tosca  and 
Scarpia  remaining  behind.    Spoleita  withdraws  to  the  door  situate  C,  at  the  back  of 
*b.e  stage.    Sciarrone  closes  the  noor  L,  greatly  to  Tosca's  surprise.    Scarpia  reas- 
ires  fur  with  sedulous  politeness) 

Now  let  us  have  a  friendly  talk  together 

(signs  to  her  to  be  seated) 

There  is  nothing  to  alarm  you... 


•  TOSCA 

Tosca 

(siede  con  calma  studiata) 

Sgomento  alcun  non  ho. 

Scarpia 
La  storia  del  ventaglio  ?... 

(pas?a  dietro  al  canapd  sul  quale  si  e  seduta  Tosca  e  vi  si  appoggia,  parlando  sempre 
con  galanteria) 

Tosca 

(con  simulate  indifferenza) 

Fu  sciocca  gelosia. 

Scarpia 

L'Attavanti  non  era  dunque  alia  villa  ? 

Tosca 

No: 
egli  era  solo. 

Scarpia 

Solo  ?  -  Ne  siete  ben  sicura  ? 

Tosca 

Nulla  sfugge  ai  gelosi.     Solo!  solo! 

Scarpia 

(prende  ana  Bedia,  la  porta  di  f route  a  Tosca,  vi  ei  siede  e  guarda  flesamente  Tosca) 

Davver  ? 
Tosca 

(irritata) 

Solo!  sl! 

Scarpia 

Quanto  fuoco!     Par  che  abbiate  paura 
di  tradirvi. 

(chiamando)  Sciarrone :  che  dice  il  Cavalier  ? 
Sciarrone 

(apparendo  sul  limitare  dell'i'scio) 

Nega. 

Scarpia 

(a  voce  pik  alta  verso  1  aaclo  aperto) 

Insistiamo. 

(Sciarrone  rientra  nella  canera  del  la  tortura,  chiudendone  I'uscio) 

Tosct 

(ridendl 

Oh,  inutile. 
Scarpia 

(seriisaimo,  si  alza  e  passeggia) 

Jx)  vedremo,  signora. 


Tosca 

(sits  down  with  affected  calm) 

Nor  do  I  feel  alarmeds.. 

Scarpia 

(leans  on  the  back  of  the  sofa  on  which  Tosca  Is  seated) 

The  story  of  the  fan  ?... 
Tosca 

(with  feigned  indifference) 

Was  one  of  silly  jealousy... 

Scarpia 

The  Attavanti,  it  seems,  was  not  at  the  villa  ? 

Tosca 

No.     No  one  but  he  was  there. 

Scarpia 

No  one?  (maliciously)     Of  that  you  are  quite  certain 

Tosca 

I  saw  all  that  there  was  to  see.  .insistently)     Alone  I 

Scarpia 
Indeed  1 

Tosca 

(irritated) 

Yes,  alone  ! 

Scarpia 

What  excitement  ! 

Do  you  fear  to  commit  some  indiscretion  ? 

(turning  towards  the  entrance  to  the  torture-chamber) 

Sciarrone,  what  does  the  witness  say  ? 
Sciarrone 

(appears  In  the  doorway) 

Nothing  1 

Scarpia 

(still  more  loudly) 

Be  more  urgent. 

(Sciarrone  retiree,  closing  the  door)     •    „ 

Tosca 

(laughing) 

Oh  1  'tis  useless  ! 

Scarpia 

(gravely,  walking  about  the  room) 

We  shall  see,  fairest  lady. 


ATTO  SECONDO 


Tosca 

Dunque  per  compiacervi  si  dovrebbe  mentir? 

Scarpia 

No ;  ma  il  vero  potrebbe  abbreviargli  un'ora 
assai  penosa... 

Tosca 

(sorpreea) 

Un'ora  penosa?     Che  vuol  dir? 
Che  avviene  in  quella  stanza? 

Scarpia 

E  forza  che  si  adempia 
la  legge. 

Tosca 
Oh!  Dio!...  che  avviene  ? 

Scarpia 

Legato  mani  e  pi£ 

il  vostro  amante  ha  un  cerchio  uncinato  alle  tempia. 
che  a  ogni  niego  ne  sprizza  sangue  senza  merce\ 

Tosca 

(balza  in  piedi) 

Non  e*  ver,  non  6  vero!     Sogghigno  di  demone... 
Quale  orrendo  silenzio!...     Ah!  un  gemito...  pieta... 

(ascolta  ansiosamente) 

Scarpia 
Sta  in  voi  salvarlo. 

Tosca 

Ebbene...  ma  cessate! 

Scarpia 

(va  presso  all'aBcio) 

Sciarrone, 
sciogliete. 

Sciarrone 

(si  presenta  BU!  llmitare) 

Tutto? 

Scarpia 
Tutto. 

(Sciarrone  entra  di  nuovo  nclla  camera  ow/a  conn. ..,  chindendo) 

(a  ToBca)    Ed  or...  la  verita, 


ACT  II. 

Tosca 

(slowly,  smiling  ironically) 

Thus,  if  I  wish  to  please  you, 
I  must  tell  you  untruths? 

Scarpia 

No ;  by  truthfulness  only  he  may 
be  spared  an  hour  of  anguish. . . 

Tosca 

An  "hour  of  anguish  ?  (surprised) 

Wiiat  do  you  mean  ? 

What  is  happening  in  that  chamber  ? 

Scarpia 
The  laws  are  there  enforced,  to  the  letter. 

Tosca 

Oh,  God  !  and  how?... 

Scarpia 

(with  ferocious  sternness) 

Bound  hand  and  foot,  your  lover  there  lies 
prostrate,  a  fillet  of  steel  encircling  his  temples^ 
from  which  a  jet  of  blood 
spurts  out  at  ev'ry  denial ! 

Tosca 

(tottering  to  her  feet) 

'Tis  not  true  !     What  a  fiendish  invention  !... 

(Cavaradossi  groans  deeply) 

A  groan  ?     Have  mercy  ! 

Scarpia 

Speak  out  and  save  him. 

Tosca 

Yes,  yes...  but  release  him  ! 

Scarpia 

(turning  toward*  the  entrance  L.) 

Sciarrone,  loosen  him  ! 

Sciarrone 

(appearing  at  the  threshold) 

Quite  ? 

Scarpia 
Quite. 

(Sciarrone  re-enters  the  torture-chamber,  cio  ing  the  dooo 

And  now,  tell  me  the  truth. 


Tosca 
Ch'io  lo  veda !... 

Scarpia 

No! 

Tosca 

(rlesce  ad  ETvicinarei  all'uscio) 

Mario ! 

La  voce  di  Cavaradossi 
Topca ! 

Tosca 

Ti  fanno  male 
ancora  ? 

La  voce  di  Cavaradossi 

No  —  corra<?io  —  Taci  _  Sprezzo  il  dolor. 

Scarpia 

(avvicinandosi  a  Tosca) 

Orsu,  Tosca,  parlate. 

Tosca 

,rinf  raiicata  dalle  parole  di  Cavaradoeei) 

Non  so  nulla  ! 

Scarpia 

N"on  yale 
la  prova  ?...     Ripigliamo... 

Tosca 

(Bi  frappone  fra  I'uscio  e  Scarpia,  per  impedire  che  dia  Tordine) 

Fermate  !...  no...  che  error! 
Scarpia 
Parlate !... 

Tosca 

No...  mostro  1 
lo  strazi...  1'uccidi ! 

Scarpia 

Lo  strazia  quel  vostro 
silenzio  assai  piu. 


ACT  II. 

Tosca 

Let  me  see  him!... 

Scarpia 
No! 

Tosca 

(by  degrees  succeeds  in  approaching  the  door,  and  exclaims) 

Mario! 

Cavaradossi 

(from  within,  in  pain) 

Tosca! 

Tosca 

Are  they  hurting  you  still  ? 

Cavaradossi 

No,  take  courage.     Silence!     Pain  I  despise!. 

Scarpia 

\nd  now  speak  out,  fair  Tosca. 

Tosca 

(firmly) 

I  know  nothing! 

Scarpia 

That  test  was  not  sufficient ! 
If  not,  we  can  repeat  it... 

(walks  towards  the  doorway) 

Tosca 

(interposing  herself  between  Scarpia  and  the  door) 

No!  you  shall  not! 

Scarpia 

Will  you  speak  out,  then  ? 

Tosca 

No!  no!... 

Ah!  monster,  you  have  hurt  him  ;  you 
demon  incarnate,  you  will  kill  him!... 

Scarpia 

Your  obstinate  silence  'tis  that 
hurts  him  worse  than  I  do.     Qaughs) 


ATTO  SECONDO 


Tosca 

Tu  ridi...  tu  ridi 
alPorrida  pena? 

Scarpia 

(con  feroce  ironia) 

Mai  Tosca  alia  scena 
piu  tragica  fu. 

(con  fermezza  a  Tosca,  gnardandola  flssa  negll  occhl) 

Qui  pianti  e  rimbrotti 
son  vani. 

Tosca 

(supplichevole) 

Merc£  1 

Scarpia 
Ov'S  1'Angelotti  ? 
Rispondi,  dov'£  ? 

Tosca 

(con  voce  soffocata) 

Nolso. 

Scarpia 
La  vendetta 
su  Mario  cadra. 

(grida  in  tono  di  comando) 

Sciarrone  1 

Tosca 

(smarrita) 

No...  aspetta... 

(vuol  parlare,  sinania,  replete  ancora) 

Non  posso... 

(a  man!  giunte) 

Pieta... 
Scarpia 

(per  finirla) 

Aprite  le  porte 
che  n'oda  i  lament!. 

(Spoletta  apre  1'uscio  e  eta  rltto  sulla  sogUa) 


ACT  Ik  • 

Tosca 

You  laugh,  wretch ...  you  laugh  at  his  anguish  1 

Scarpia 

(enthusiastically) 

More  tragical  Tosca  was  ne'er  on  the  stage! 

Toeca  withdraws  from  Scarpia,  who  turns  towards  Spoletta  in  a  transport  of  ferocity 
exclaiming  loudly) 

Throw  open  the  doors! 
Let  her  hear  him  complaining! 

(Spoletta  opens  the  door  and  stands  stiffly  by  the  threshold) 

Cavaradossi 

(from  within) 

I  defy  you!... 

Scarpia 

(to  Robert!) 

Harder,  still  harder! 

Cavaradossi 

I  defy  yon! 

Scarpia 

(to  Tosca) 

Speak  out,  then! 

Tosca 

What  shall  I  say  ? 

Scarpia 

Now — quickly ! 

Tosca 

Ah!   I  know  nothing!   (desperately) 

Ah!  must  I  tell  lies* 
Scarpia 

(insisting) 

Say,  where  is  Angelotti  ? 

Tosca 

No! 

Scarpia 

Say,  where  u  Angelotti  ?    Speak  out  you  shaltt 
Say,  where  have  you  hidden  him  ? 


90  TOSCA 

La  voce  di  Cavaradossi 
Vi  stido. 

Scarpia 

(imperioso) 

Piu  forte. 

Tosca 

li)  troppo  martir  ! 

(si  rivolge  ancora  supplichevole  a  Scarpia,  il  quale  fa  cenno  a  Spoletta  dl  lasciare  av- 
vicinare  Tosca  :  questa  va  presso  all'  uscio  apertoed  eeterrefatia  alia  vista  dell'  orrt 
bile  scena,  si  rivolge  a  Cavaradossi  col  massimo  dolore:) 

O  Mario,  consent! 
ch'io  parli?... 

La  voce  di  Cavaradossi 

No. 

Tosca 

(con  insistenza) 

Ascolta, 
non  posso  piii... 

La  voce  di  Cavaradossi 

Stolta, 
che  sai  ?...  che  puoi  dir "?... 

Scarpia 

ctrritatiBslmo  per  le  parole  di  Cavaradossi  e  temendo  che  da  qneeta  Tosca  sia  ancora 
Incoraggiata  a  tacere,  grida'  ?rribile  a  Spoletta:) 

Ma  fatelo  tacere  !... 

JSpoletta  entra  nella  camera  della  tortara  e  n'esce  poco  dopo,  mentre  Tosca,  vinta  dalla 
terribile  commozione,  cade  prostrata  sul  canapd  e  con  voce  singhiozzante  si  rivolge 
a  Scarpia  che  sta  impaesibile  e  silenzioso.  Intanto  Spoletta  broutola  preghiere  sot 
tovoce. 

Tosca 

Io...  son  io 

che  cosl  torturate  !...  Torturate 
I'anima... 

(scoppia  in  einghiozzi  strazianti,  mormorando  :) 

SI,  mi  torturate  I'anima  ! 

(Scarpia,  proflttando  deiraccascianiento  di  Tosca,  va  presso  la  camera  della  tortara  e 
fa  cenno  di  ricomlnclare  il  supplizio  -  un  grido  orribile  si  fa  udire  -  Tosca  si  alza 
di  Bcatto  e  subito  con  voce  soffocata  dice  rapidaniente  a  Scarpia:) 

nel  pozzo...  nel  giardino... 


«•  ACT  II. 

Tosca 

Ah!  do  not  urge  me!     Ah!  pray  have  pity! 

Scarpia 

Speak! 
Tarry  no  longer]     Where  is  he  ? 

Tosca 

Ah!  torment  me  no  longer!     Have  mercy, 
I  pray,  I  can  no  more!     (Mario  groans) 

(At  a  sign  from  Scarpia,  Spoletta  allows  Tosca  to  approach  the  open  door ;  horror- 
stricken  by  what  she  a  -es,  she  advances  towards  Cavaradossi  and,  standing  by  the 
door  of  the  torture-chamber,  exclaims  distractedly) 

Mario!  permit  me  to  tell  him! 
Cavaradossi 

(his  voice  broken  hy  pain) 

No! 

Tosca 

But  hear  me — I  can  no  more! 

Cavaradossi 

Woman,  what  know'st  thou  ?     What  canst  thou  say  ? 

Scarpia 

(infuriated  by  Cavaradossi's  utterances,  and  fearing  that  they  may  encourage  Tosca  to 
keep  silence,  exclaims  aloud  to  Spoletta) 

Compel  him  to  be  silent! 

(Spoletta  enters  the  torture-chamber,  from  which  he  promptly  emerges,  while  Tosca, 
overcome  by  emotion,  falls  back  on  the  sofa,  and  appeals  in  a  tremulous  voice  to 
Scarpia,  who  stands  by  impassively  and  silently) 

Tosca 

Have  I  ever  done  you  wrong  ? 
It  is  I  whom  you  torture  thus  basely,  whom  you 
torture  cruelly,  yes,  cruelly,  cruelly  torture! 

(bursts- into  convulsive  sobs) 

(Spoletta,  kneeling,  mutters  a  Latin  prayer.  Scarpia,  profiting  by  Tosca's  prostration, 
goes  up  to  the  door  of  the  torture-chamber  and  signals  Robert!  to  recommence 
operations.  Cavaradossi  utters  a  strident  and  prolonged  cry  of  pain,  whereupon 
Tosca  rises  from  the  sofa,  and  in  a  stifled  voice  says  hurriedly  to  Scarpia) 

The  well ...  in  the  garden... 


ATTO  SECONDO 


Scarpia 
L4  6  1'Angelotti  ? 

Tosca 

SI... 

Scarpia 

(forte,  verso  la  camera  della  tortnra) 

Basta,  Robert!. 

Scarpia 

(che  ha  aperto  1'uscio)  E  SVGnutO  ! 

Tosca 

(a  Scarpia)    Assassino  !... 

Voglio  vederlo... 

Scarpia 
Portatelo  qui. 

(Sciarrone  rientra  e  subito  appare  Cavaradossi  svenuto,  portato  <iai  birri  che  lo  depo& 
gono  sul  canape.  Tosca  corre  a  lui,  ma  1'orrore  della  vista  dcll'amante  insanguinato 
e  eosi  forte,  ch'essa  Bgomentata  ei  copre  il  volto  per  non  vp.Ierlo-poi,  vergognosa 
di  qnesta  sua  debolezza,  si  inginocchia  presso  di  lui,  bacisndolo  e  piangendo.  -  Seter- 
rone,  il  Giudice,  Robert!,  lo  Scrivano  escono  dal  fondo,  mentre,  ad  un  cenno  di 
Scarpia,  Spoletta  ed  i  birri  si  fermano) 

Cavaradossi 

(riavendos 

Floria !... 

Tosca 

(coprendolo  di  baci) 

Amore... 

Cavaradossi 

Sei  tu  ?... 

Tosca 

Quanto  hai  penato 
anima  mia  !  Ma  il  sozzo 
birro  la  paghera  ! 

Cavaradossi 
Tosca,  ho  parlato? 

Tosca 

No,  amor... 

Cavaradossi 

Davver?... 


ACT  II.  W 

Scarpia 

There  is  Angel  otti  ? 

Tosca 

(choking) 

Yes! 
Scarpia 

(loudly,  towards  the  torture-chamber) 

That  will  do,  Roberti. 

Sciarrone 

(appearing  at  the  door) 

He  has  fainted!... 

Tosca 

Vile  assassin!     Now  let  me  see  him... 

Scarpia 

Quick,  carry  him  hither  ! 

Cavaradossi,  in  a  swoon,  is  carried  in  and  deposited  on  the  sofa.  Tosca  rnshes  towards 
him,  but  is  horror-stricken  when  she  sees  him  bleeding,  and  stands  still,  covering  her 
eyes  with  her  hands.  Then,  ashamed  of  her  weakness,  she  kneels  down  by  Cavara- 
dossi, lavishing  kisses  and  tears  upon  him.  Sciarrone,  the  Judge,  Roberti,  and  the 
Clerk  exeunt  C.;  Spo)etta  and  the  agents  remain  behind,  in  obedience  to  a  sign 
made  by  Scarpia) 

Cavaradossi 

Floria  !... 

Tosca 

Beloved... 

Cavaradossi 

'Tis  sho, ! 

Tosca 

How  thou  hast  suffered,  heart  of  my  heart, 
But  the  brutal  tyrant  shall  suffer  too! 

Cavaradossi 

Tosca,  did  I  say  aught  ? 

Tosca 

No,  my  love... 

Cavaradossi 
Really!... 

Tosca 

No! 


Scarpia 

(forte,  a  Spoletta) 

Nel  pozzo 
del  giardin.  -  Va,  Spoletta. 

(Spoletta  esce:  Cavaradossi,  cue  ha  udito,  si  leva  minaccioso  contro  Tosca;  poi  le  foree 
I'abbandonano  e  si  lascia  cadere  sul  canape,  esclamando  con  rimprovero  pieno  e 
unarezza  '--erso  Tosca;) 

Cavaradossi 

Ah!  m'hai  tradito!... 

Tosca 

(supplichevole) 

Mario! 
Cavaradossi 

U-espingendo  Tosca  che  si  abbraccia  strstta  a  lul) 

Maledetta ! 

(Sciarrone,  a  un  tratto,  irrompe  tatto  affannoso) 

Sciarrone 

.Eccelenza...  ah,  quali  nuove!... 

Scarpia 

(sorpreso) 

Che  vuol  dir  quell'aria  afflitta  ? 

Sciarrone 
Un  messaggio  di  sconfitta... 

Scarpia 
Qual  sconfitta  ?  Come  ?  Dove  ? 

Sciarrone 
A  Marengo... 

Scarpia 

(impaziente) 

Tartaruga! 

Sciarrone 

Bonaparte  e  vincitor... 


ACT  n. 
Scarpia 

(loudly  and  authoritatively  to  Spoletta) 

In  the  well  of  the  garden — Go,  Spoletta! 

(Exit  Spoletta) 

Cavaradossi 

(rises  threateningly) 

Thou  hast  betrayed  me! 

(falls  backwards,  overcome) 

Tosca 

(embracing  him  passionately) 

Mario! 
Cavaradossi 

(trying  to  push  her  away) 

Be  accursed! 

Tosca 

Mario  t 

(enter  Sciarrone,  much  perturbed) 

Sciarrone 

Excellency,  dreadful  tidings!... 

Scarpia 

(surprised)  ] 

What  has  happened  ?    Tell  me  quickly  I 

Sciarrone 

The  Royal  troops  have  been  defeated... 

Scarpia 
How  defeated  ?     When  ?     Where  ? 

Sciarrone 

At  Marengo... 

Scarpia 

(impatiently) 

Wretched  dullard  1 

Sciarrone 

Bonaparte  won  the  day!... 


ATTO  SECONDO 


Scarpia 

Melas! 

Sciarrone 

No.     Melas  £  in  fuga!... 

(Cavaradossl,  che  con  ansia  crescente  ha  ndito  le  parole  di  Sciarrone,  trova  nel  proprio 
entusiasmo  la  forza  di  alzarsi  minaccioso  in  faccia  a  Scarpia) 

Cavaradossi 
Ah  c'e  un  Dio  vendicator! 
L'alba  vindice  appar 
che  fa  gli  empi  tremar! 
Liberta  sorge  crollano 
tirannidi! 

Del  sofferto  martir 
me  vedrai  qui  gioir... 
il  tuo  cuor  trema,  o  livido 
carnefice ! 

fTosca,  disperatamente  aggrappandosi  a  Cavaradossi,  tenta,  con  parole  interrotte,  dl 
farlo  tacere.  mentre  Scarpia  risponde  a  Cavaradossi  con  sarcastico  sorriBo:) 

Scarpia 

Braveggia,  urla!  -  T'affretta 
a  palesarmi  il  fondo 
dell'alma  rial 
Va!  -  Moribondo, 
il  capestro  t'aspetta! 

(ed  irritate  per  le  parole  di  Cavaradossi,  grida  agli  sbirri:) 

Portatemelo  via! 

(Sciarrone  e  gli  sbirri  s'  impossessano  di  Cavaradossi,  e  lo  trascinano  verso  la  portam 
Tosca  con  nn  supremo  sforzo  tenta  di  tenersi  stretta  a  Cavaradossi,  ma  invano: 
essa  3  brutalmente  respinta) 

Tosca 

Mario...  con  te... 

(gli  sbirri  condacono  via  Cavaradossi ;  li  seguono  Spoletta  e  Sciarrone :  Toeca  si  avventa 
per  eeguir  Cavaradossi,  ma  Scarpia  si  colloca  innanzi  la  porta  e  la  cbinde,  respiu- 
gendo  Tosca) 

Scarpia 

Voi  no  J 


ACT  H.  » 

Scarpia 

Melas!... 

Sciarrone 

No!     Melas  was  routedl 

rWith  ever-increasing  anxiety  Cavaradossi  has  listened  to  Sciarrone's  annonncememtSi 
and  in  his  exultation  finds  strength  to  arise  and  confront  Scarpia  menacingly) 

Cavaradossi 

(enthusiastically) 

Vic  tory !     Victory  1 
Thou  spirit  of  vengeance,  awake! 
Let  tyrants  and  myrmidons  quake! 
Freedom,  brandish  thy  glaive  and 
strike  down  thy  enemies  1 

Tosca 

(in  despair,  endeavouring  to  quiet  Cavaradossi) 

Mario  !     Silence,  in  pity  to  me ! 

Cavaradossi 

Raise  thy  clarion  voice  ! 
Bid  a  sad  world  rejoice  ! 
Tremble,  Scarpia,  thou  butcherly  hypocrite  1 

Scarpia 

(staring  cynically  at  Cavaradossi  and  smiling  sarcastically) 

Bravado  !     Boaster  !     I  hate  thee ! 
Thy  carcase  soon  shall  swing, 
a  senseless  lump  of  clay!     Away, 
doomed  traitor,  the  hangman  awaits  thee! 
Now  carry  him  away  ! 

(Sciarrone  and  the  agents  seize  Cavaradossi,  and  drag  him  towards  the  door) 

Tosca 

(resisting  with  all  her  strength) 

Mario,  with  thee!... 

Scarpia 

Go,  dying  traitor,  go! 

Tosca 

(clinging  to  Mario,  and  brutally  thrust  back  by  the  agemtt) 

Mario  1  with  thee!... 

(endeavours  to  force  her  way  past  Scarpia) 

Scarpia 

(pushing  her  back  and  closing  the  door) 

Not  you  I 


TOSOA 


TOSCA  -  SCABPIA. 
Tosca 

(con  un  gemito) 

Salvatelo! 

Scarpia 
Io?...     Voi! 

(el  awicina  alia  tavola,  vede  la  sua  cena  lasciata  a  mezzo  e  ritorna  calmo  e  eorridente) 

La  povera  mia  cena  fu  interrotta. 

(vedendo  Tosca  abbattuta,  immobile,  ancora  presso  la  porta) 

Cosl  accasciata?...     Via,  bella  signora 
sedete  qui.  -  Volete  cbe  cerchiamo 
insieme,  Tosca,  il  modo  di  salvarlo  ? 

Tosca  si  Bcnote  e  lo  gnarda:    Scarpia  sorride  sempre  e  si  siede,  accennando  in  pari 
tempo  di  sedere  a  Tosca) 

E  allor  sedete...  e  favelliamo...     E  intanto 
un  sorso.     E  vin  di  Spagna... 

(riempie  il  bicchiere  e  lo  porge  a  Tosca) 

Un  sorso 
per  rincorarvi. 

Tosca 

fissando  sempre  Scarpia  pi  awicina  lentamente  alia  tavola,  siede  risoluta  di  fro«te  c 
Scarpia,  poi  coll'accento  del  piu  profondo  diprezzo  gli  chiede:) 

Quanto  ? 
Scarpia 

(imperturbabile,  versandosi  da  bere) 

Quanto?...  (ride) 

Tosca 

II  prezzo!... 
Scarpia 

Gia.  -  Mi  dicon  venal,  ma  a  donna  bella 
io  non  mi  vendo  a  prezzo  di  moneta. 
Se  la  giurata  fede 

devo  tradir,  ne  voglio  altra  mercede. 
Quest'ora  io  1'attendea. 
Gia  mi  struggea 
1'amore  della  diva!... 
Ma  poc'anzi  la  donna  -  io  la  mirai 
qual  non  la  vidi  mai 
all'ira,  al  pianto  ed  all'amor  piU  viva!... 


«»  ACT  n. 

Tosca 

(gasping) 
I  conjure  you,  save  him  I 

Scarpia 
I?  _You! 

(approaches  the  table,  as  though  to  resume  supping,  but  turns  back,  calm  and  smiling) 

My  poor  little  supper  was  interrupted. 

(seeing  Tosca  downcast  and  motionless,  still  near  the  door) 

Why  thus  disheartened  ?...     Come, 

sweet  sorrow-stricken  lady,  be  seated  here. 

Devise  with  me  some  plan  whereby 

we  may  contrive  to  save  him, 

and  then  ...  be  seated... 

(sits  down,  motioning  to  Tosca  to  do  the  like) 

we'll  talk  it  over. 

(polishes  a  wineglass  with  his  napkin,  and  fills  it  with  wine) 

Meanwhile,  this  cordial...  'tis  wine  of  Spain... 
pray  taste  it,  'twill  raise  your  spirits. 

Tosca 

(seats  herself  opposite  Scarpia,  looking  at  him  steadfastly,  leaning  her  elbows  on  the 
table  and  shading  her  face.    Contemptuously  she  asks  him  :) 

How  much  ? 

Scarpia 

(imperturably,  filling  his  glass) 

How  much  ? 

Tosca 

Your  price,  man  ?... 

Scarpia 

(laughs) 

Venal,  my  enemies  call  me,  but  to  ladies  fair 
1  do  not  sell  myself  for  paltry  sums  of  money. 
No  !   if  my  plighted  fealty  I  must  betray 
(emphatically)  I'll  choose  some  other  payment. 
This  hour  I've  long  awaited!... 


ATTO  8ECONBO 


Quel  tuo  pianto  era  lava 

infocata  a'  miei  sensi  -  ed  il  tuo  sguardo, 

che  odio  in  me  dardeggiava, 

le  selraggie  mie  brame  inferocia!..- 

Agil  qual  leopardo 

ti  avvinghiftsti  all'amante  -  in  quell'istante 

10  t'ho  giurata  mia!... 

Mia!...  ruggente  di  collera  e  d'orgoglsol... 
A  me!...     Ti  voglio! 

lei  leva,  Btendendo  le  biaccia  verso  Tosca:  queeta,  che  aveva  ascoitato  krunobile,  \ft 
pietrita,  le  Utecive  parole  di  Scarpia,  s'alza  di  scatto  c  si  rifogia  dta»r«  il  «>w»pd» 

Tosca 
Tu?... 

Scarpia 
Si,  e  t'avr6! 

Tosca 

(correndo  alia  flnestra) 

Pria  giu  mi  awento! 
Scarpia 

(freddamente) 

In  pegno 

11  tuo  Mario  mi  resta!... 

Tosca 

L'orribile  mercato!... 

(per  Biibita  idea) 

Ah!  -  la  regina!... 
Scarpia 

(kooioo) 

Non  ti  trattengo.  -  Va.  -  Libera  sei. 
Ma  d  fallace  speranza:  la  Regina 
iarebbe  solo  graeia  ad  un  oadavere! 

Vooca  retroo«da  spaventata,  •  fissendo  Scarpia  si  laecia  cadere  sul  canape ;  poi  stsrw 
gli  occbi  da  Soarpta  oon  an  geeto  di  supremo  disgusto  e  di  odio) 

Oome  tu  m'odii! 

Tosca 

Ah!    DioL. 
Scarpia 

(ivvicinandosele) 

Cosl  ti  voglio ! 


JCT  ft.  41 

(excitedly) 

Goddess  of  song,  you  have  scorned  me  and  braved  me. 

'Twas  your  beauty  that  made  me  love  yon,  'tis  your  hatred 
that  has  enslaved  me  ; 

When  I  saw  your  cheeks  bedewed  with  tears  of  consterna- 
tion, 

Shed  by  lustrous  eyes  that  fiercely  sparkled  with  scorn  and 
detestation, 

When  you  clung  to  your  lover  like  an  amorous  tigress, 

Ah  1  'twas  at  that  hour  I  vowed  thou  shouldst  be  mine. 

"iBe  approaches  Tosca  with  open  arms  ;  she,  who  until  now  had  listened  to  him  without 
stirring,  rises  suddenly,  horrified  by  his  audacious  proposals,  and  rushes  behind  the 
eofa.  She  screams.) 

Scarpia 

(following  her) 

Miae,  wholly  mine  ! 

Tosca 

(terrified,  rushes  to  the  window  and  clings  to  It) 

No  !  far  rather  will  I  kill  myself  ! 
Scarpia 

(coldly) 

Your  Mario's  life  I'll  hold  in  pawn  for  yours  ! 

Tosca 

Think  you  that  I  will  contract  so  hideous  a  bargain  ? 

(the  Idea  of  appealing  to  the  Queen  occurs  to  her,  and  she  hurries  towards  the  door) 

Scarpia 

(divining  her  thoughts) 

I  will  not  force  you  to  stay, 

(draws  aside) 

You  are  free  to  go,  fair  lady  ; 

(Tosca  is  joyfully  leaving  the  room  when  Scarpia,  laughing  ironically,  stays  her  with  a 

but  your  hope  is  fallacious . . . 

It  were  vain  to  ask  our  gracious  Queen 

to  pardon  a  dead  man  ! 

(Tosca  turns  back  terror-stricken  and,  staring  at  Scarpia,  resumes  her  seat  on  the  sofa ; 
then  turns  her  eyes  away  with  a  look  of  suprerae  disgust  and  hatred) 

How  you  detest  me  ! 

Tosca 

(with  loathing  and  contempt) 

Idol 

Scarpia 

(approaching  her) 

Tis  thus,  'tis  thus  I  love  you  1 


43  TOSCA 

Tosca 

(con  ribrezzo) 

Non  toccarmi  -  demonio  -  t'odio,  1'odio, 
abbietto,  vile  ! 

(fugge  da  Scarpia  inorridita) 

Scarpia 

Che  importa  ?  Sei  mia... 
Spasimi  d'ira  e  spasimi  d'amore  ! 

Tosca 

Vile  !  ! 

Scarpia 

Mia  I  !   (cerca  di  afferrarla) 

Tosca 

Vile  1  (si  ripara  dietro  la  tavola) 

Scarpia 

(insegnendola) 

Mia... 

Vosca 

No  -  aiuto ! 

(UB  lontano  rulle  di  tamburi  a  poco  a  poco  si  avvicina  poi  si  dilegua  lontano) 

Scarpia 

(fermandosi) 

L'odi? 

is  il  tamburo.  S'avvia.  Guida  la  scorta 
ultima  ai  condannati.  H  tempo  passa ! 

(Tosca,  dopo  aver  ascoltato  con  ansia  terribile,  si  allontana  dalla  flnestra  e  al  appoggto, 
eatenuata,  al  canape) 

Sai  quale  oscura  opra  laggiu  si  compia? 
La  si  drizza  un  patibolo.  Al  tuo  Mario, 
per  tuo  voler,  resta  un'ora  di  vita. 

(f  reddamente  ei  appoggia  ad  nn  angolo  della  tavola  continuando  a  guardare  Toica) 


ACT  n. 


Tosca 

(exasperated) 

Do  not  touch  me,  you  demon  ! 

I  hate  you,  you  coward,  you  villain  ! 


Scarpia 

(approaching  her  still  nearer) 

What  matter  ?     Hatred  like  yours 
and  love  are  kindred  passions  1 


Tosca 

Villain  ! 

(•blinking  behind  thfi  tat 


Scarpia 

(pursuing  her) 

Mine? 


Tosca 

Help! 

(both  are  stayed  by  the  Bound  of  distant  drama) 


Scarpia 

Listen  to  the  drums  approaching ; 

leading  the  escort  of  men  about  to  die  on  the  scaffold 

And  time  is  passing.     Know  you  what  dismal 

preparations  my  people  are  completing  ? 

There...  (pointing  to  window)  they  have 

raised  up  a  gallows-tree. 

(Tosca  shudders  in  terror  and  despair.    Scarpia  approaches  her) 

'Tis  your  will,  then,  that  your  fond  lover 
should  die  in  another  brief  hour? 

(Broken  down  by  grief,  Tosca  falls  back  on  the  sofa.    Scarpia  leans  against  a  corner  •/ 
the  table,  pours  out  coffee,  and  drinks  it,  with  his  eyes  fixed  upon  Tosca) 


ATTO  SECONDO 


Tosca 

(nel  massimo  dolore) 

Vissi  d'arte  e  d'araor,  non  feci  ma 

male  ad  anima  viva  ! 

Con  man  furtiva 

quante  pene  conobbi,  alleviiai. 

Sempre  con  fe  sincera 

la  mia  preghiera 

ai  santi  tabernacoli  sail. 

Diedi  fiori  agli  altar,  diedi  gioielli 

della  Madonna  al  manto, 

e  diedi  il  canto 

agli  astri,  al  ciel,  che  ne  ridean  piu  belli 

Nell'ora  del  dolore 

perche,  Signore, 

perch  &  me  ne  rimuneri  cosl  ? 

Scarpia 

Kavvicinandosi  di  nuovo  a  Tosca) 

Risolvi  ? 

Tosca 

No! 

Scarpia 
Bada...  il  tempo  e  veloce  ! 

Tosca 

Mi  vuoi  supplice  a  tuoi  piedi  ? 

(inginocchiandosi  innanzi  a  Soarpia) 

Ecco  -  vedi  - 

le  man  giunte  io  stendo  a  te  I 

E  merce, 

umiliata  e  vinta,  aspetto 

d'un  tuo  detto. 

Scarpia 

Sei  troppo  bella,  Tosca,  e  troppo  amante. 

Cedo.  -  A  misero  prezzo 

tu,  a  me  una  vita,  io,  a  te  chieggo  an  istante  ) 


ACT  II.  41 

Tosca 

(mournfully) 

Love  and  music,  these  have  I  lived  for, 

nor  ever  have  harmed  a  living  being... 

The  poor  and  distressful,  times  without  number, 

by  steaLh,  I  have  succoured... 

Ever  a  fervent  believer,  my  humble  prayers 

have  been  offered  up  sincerely  to  the  saints ; 

ever  a  fervent  believer,  on  the  altar  flowers  I've  laid... 

In  this,  my  hour  of  sorrow  and  bitter  tribulation, 

oh!  Heavenly  Father,  why  dost  Thou  forsake  me  ? 

Jewels  I  gave  to  bedeck  Our  Lady's  mantle  ; 

I  gave  my  songs  to  the  starry  hosts 

in  tribute  to  their  brightness... 

In  this,  my  hour  of  grief  and  bitter  tribulation, 

why,  Heavenly  Father,  why  hast  Thou  forsaken  me  ? 

Scarpia 

What  say  you  ? 

Tosca 

(resolutely) 

No! 

Scarpia 
Forget  not  that  time  flieth  swiftly  I 

Tosca 

(kneels  before  Scarpia) 

Must  I,  kneeling,  beg  for  mercy  ? 

Behold  me,  pleading  here  at  your  feet  for  pity. 

Hear  me  !     Grant  my  entreaty  ! 

Let  me  not  implore  you  vainly  !      (desperately,  yet  humbly) 

Scarpia 

Too  lovely  art  thou,  Tosca,  and  too  enchanting 
to  be  resisted.     I  have  the  worst  of  the  bargain  ; 
a  life  I  barter  against  a  minute  of  thy  favour  J 


TOSCA 

Tosca 

(alzandosi,  con  senso  di  gran  disprczzo) 

Va  -  va  -  mi  fai  ribrezzo! 

(bussano  alia  port*) 

Scarpia 
Chi  6  la? 

Spoletta 

(ertrando  trafelato) 

Eccellenza,  1'Angelotti  al  nostro 
ginnger  si  uccise. 

Scarpia 

Ebbene  lo  si  appenda 
morto  alle  f orche.  E  1'altro  prigiouiero  ? 

Spoletta 

II  cavalier  Cavaradossi  ?  E  tutto 
pronto,  eccellenza. 

Tosca 

(Dio!  m'assisti!...) 

Scarpia 

(a  Spoletta) 

Aspetta. 

(aToeca) 

Ebbene  ? 

CToeca  accenna  di  si  col  capo  e  dalla  vergogna  piangendo  si  nasconde  il  Ttao) 
(a  Spoletta) 

Odi... 


Tosca 

Interromp 

Ma 
V>  voglio... 


(Interrompendo,  subito  a  Scarpia) 

Ma  libero  all'istante 


Scarpia 

(aToeca) 

Occorre  simular.  Non  posso 
far  grazia  aperta.  Bisogna  che  tutti 
abbian  per  morto  il  cavalier. 

(accenna  a  Spoletta)   Quest'uomO 

fido  provvedera. 


«4  Acrn. 

Tosca 
Go! 

(rising  scornfully) 

You  make  me  shudder  !     Go ! 

(a  knock  at  the  door) 

Scarpia 

Who's  there  ? 

(enter  Spoletta  in  haste  and  much  agitated) 

Spoletta 

Excellency,  Angelotti  swallowed  poison 
when  we  seized  him. 

Scarpia 

'Tis  well !  Let  them  hang  up  his  corpse  on  the  gibbet! 
And  how  about  the  other  ? 

Spoletta 

You  mean  the  painter,  Cavaradossi; 
He  awaits  your  decision  ! 

Tosca 

(aside) 

Heaven  help  me  ! 

Scarpia 

(to  Spoietta) 

A  moment... 

(to  Tosca,  softly) 

What  say  you? 

jehe  nods  consentingly  ;  then,  weeping  for  very  shame,  she  buries  her  head  in  the  sofa 
cushions) 

Scarpia 

(to  Spoletia) 

Hearken... 
Tosca 

(interrupting) 

But  he  must  be  set  free  on  the  instant ! 

Scarpia 

I  fear  that  may  not  be.  I  dare  not  simply  release  him. 
It  must  be  believed  by  everyone  here  that  he  is  dead, 
(points  to  Spoletta)  This  worthy  fellow  will  arrange  alU 


ATTO  SECONDO 


Tosca 
Chi  mi  assicura? 

Scarpia 
L'ordin  che  gli  dar6  voi  qui  presents. 

(a  Bpoletta) 

Spoletta:  chindi. 

(Spoletta  chiode  la  porta,  poi  rftoma  presso  Scarpia) 

Ho  mutaio  d'avviso. 
II  prigionier  sia  fucilato... 

(Tosca  Bcatta  atterrita) 

atteodi... 

(fissa  con  iatenzione  Spoletta  che  accenna  replicetamente  col  capo  di  Indovinare  11  pen 
slero  di  Scarpia) 

Come  f  acemmo  del  conte  Palmieri. 

Spoletta 

Un'uccisione... 

Scarpia 

(snbito  con  marcata  intenzione) 

...simulata!...  Come 
avvenne  del  Palmieri!...  Hai  ben  compresoV 

Spoletta 
Ho  ben  compreso. 

Scarpia 
Va. 

Tosca 

Voglio  avvertirio 
io  stessa. 

Scarpia 

E  sia. 

(a  spoietta)  Le  darai  passo.  Bada: 
all'ora  quarta. 

Spoletta 
SI.  Come  Palmieri. 

CBpoletta  part*.  Scarpia,  ritta  preseo  la  porta,  ascolta  Spoletta  allontanarsi,  pot 
mate  nel  vieo  e  nei  gexti  si  avvtcina  con  grande  paasione  a  Tosca) 


ACT  II.  « 

Tosca 

Can  he  be  trusted  ? 

Scarpia 

Trust  the  orders  I  shall  give  him, 

here,  in  your  presence. 

(taming  to  Spoietta)  SpoleUa  !  shut  that  door. 

(Spoietta  hastens  to  obey,  and  then  returns  to  Scarpia,  who  looks  fixedly  at  him, 
Spoietta  repeatedly  indicating  by  nods  that  he  understands  his  master's  meaning) 

I  have  altered  my  purpose.     Cavaradossi 

will  be  shot ...  pay  attention  ... 

just  as  we  did  in  the  case  of  Palmieri.... 

Spoietta 
An  execution... 

Scarpia 

(emphatically) 

Simulated  ! ...  As  we  did  in  the  case  of  Palmieri ! 
Dost  understand  me  ? 

Spoietta 
I  understand  you. 

Scarpia 

Go! 

Tosca 

(who  has  listened  eagerly,  interrupting) 

And  I  in  person  will  warn  him. 

Scarpia 

Be  it  so. 

(to  gpoletta,  pointing  at  Tosca) 

You  will  admit  her. 

Remember  :  (emphatically)  at  four  o'clock... 

Spoietta 

(emphatically) 

Yes.     Just  like  Palmieri... 

.«lt  Spoietta.    Scarpia,  standing  by  the  door,  listens  to  Spoletta's  retreating  step* 
Then,  changing  his  manner  and  expression,  he  turns  passionately  to  Toaca) 


*  TOSCA 

Scarpia 

Io  tenni  la  promessa... 

Tosca 

(arrestandolo) 

Non  ancora. 

Voglio  un  salvacondotto  onde  fuggire 
dallo  Stato  con  lui. 

Scarpia 

(con  galanteria) 

Partir  volete  ? 

Tosca 

SI,  per  sempre! 

Scarpia 

Si  adcmpia  il  vcler  vostro. 

(va  allo  scrittoio:  ei  mette  a  scrivere,  interrompendosi  per  domandare  a  Tosca:) 

Qual  via  scegliete  ? 

JMentre  Scarpia  gcrive,  Tosca  si  e  awicinata  alia  tavola  e  colla  mano  tremante  prende 

il  bicchieridi  vino  di  Spagn J-  " 

labbra.  scorge,  sulla  tavola  un 


il  bicchieridi  vino  di  Spagna  versato  da  Scarpia;  ma  nel  portare  il  hicchiere  alle 
labbra.  ecorge,  sulla  tavola  un  coltello  affllato  ed  a  punta;  da  ana  rapida  occhiam  a 
Scarpia  che  in  quel  momento  e  occupalo  a  scrivere  -  e  con  infinite  pn-canzioni 


cerca  di  in.possessarsi  del  coltello,  rispoudendo  alle  domar.ae  di  Scarpia  ch'essa 
Tsorveglia  attentamente) 

Tosca 

La  piii  breve! 

Scarpia 

Dunque 
Civitavecchia. 

(ecrivendo) 

Sta  bene  ? 

Tosca 

Sta  bene. 

(Finalmente  ha  potnto  prendere  il  coltello,  che  dissimula  dietro  di   e  appoeiandopl  alia 
tavola  e  sempre  scrvegliando  Scarpia.    Ouestl  ha  finito  di  scrivere  il  salvacondotto, 


. 

vi  mette  il  sigillo,  npiega  il  foglio:  qumdi  aprendo  le  braccia  si  avvicina  a  Tosca 
rla  a 


tavola  e  sempre  scrvegliando  Scarpia.    Ouestl  ha  fini 
vi  mette  il  sigillo,  n 
per  awincerla  a  sd) 

Scarpia 
Ed  ora,  Tosca,  finalmente  mia  !... 

(ma  1'accento  voluttuoso  si  cambia  in  un  grido  terribfle,-  Tosca  lo  ha  colpito  In  pieno 
petto) 

Scarpia 

Maledettai  i 

Tosca 

Questo  6  ii  bacio  di  l'o«(  •_ 


Scarpia 
I  have  fulfilled  my  promise. 

Tosca 

Not  entirely.     I  must  have  a  safe-conduct 
enabling  me  to  quit  the  country  with  him. 

Scarpia 

(politely  remonstrating) 

You  really  mean  to  leave  us  ? 
Tosca 

(positively) 

Yes,  for  ever ! 

Scarpia 

It  shall  be  as  you  desire. 

(goes  to  the  desk  and  begins  to  write;  breaks  off  in  order  to  ask  Tosca:) 

By  which  road  will  you  travel  ? 

Tosca 

By  the  shortest  ! 

Scarpia 

Civitavecchia  ? 

Tosca 

Yes. 

(while  Scarpia  is  writing,  Tosca  approaches  the  table  and,  with  a  trembling  hand,  takes 
up  the  glass  filled  wir,  •  wine  for  her  by  Scarpia;  and  as  she  raises  it,  to  her  lips, 
perceives  a  fhtrp-pointed  knife  King  on  the  table-cloth.  She  casts  a  rapid  glance 
'  deck,  and  with  infinite  caution  takes  possessic 
id  her,  leaning  on  the  table  and  carefully  watc 
Scarpia,  who,  having  fini>-h»-d  writing  the  cafe  conduct,  folds  it  up,  and  advances 


•  he  hide*  behind  her,  leaning  on  the  table  and  carefully  watching 
ving  flni>-h»-d  writing  the  cafe  conduct,  f( ' " 
towards  Tosca  with  open  arms,  intending  to  embrace  her) 

Scarpia 

Tosca,  at  last  thou  art  mine  !... 

(alters  a  terrible  cry,  as  she  stabs  him  full  in  the  breast,  and  then  groars  deeply) 

Thou  accurst  one  ! 

Tosca 

(violently) 

It  is  thus  that  Tosca  kisses  1 
Scarpia 

(hoarsely) 

Help  me  !     I'm  dying  ! 

(strives  to  lay  hold  of  Tosca's  dress;  she  druws  back  horror-itrktoeni 

Help! 


ATTO  SECONDO  * 

;Scarpia  stende  11  braccio  verso  Tosca  avvicinandosele  barcollante  in  atto  di  ainto. 
Toscea  lo  sfugge  -  raa  ad  un  tratto  ella  8i  trova  preea  fra  Scarpia  e  la  tavola  e 
vedendo  che  sta  per  esi-ere  toccata  da  Scarpia,  lo  aespinge  inorridita.  Scarpia  cade, 
urlando  col  la  voce  suflf  ocata  dal  sangue:) 

Scarpia 

Aiuto...  aiuto...  muoio... 
Tosca 

(ftggando  Scarplache  si  dibatte  inutilmente  e  cerca  di  rialzarsi,  aggrappandosi  al  canapd) 

E  ucciso  da  una  donna...  -  M'hai  tu  assai 
torturato?  !  Su!  -  Parla!  -  Odi  tu  ancora  ?... 
GuardamiL.  Son  la  Tosca!  Son  la  Diva!... 
Son  Tosca,  o  Scarpia! 

Scarpia 

(fa  nn  nltimo  sforzo,  poi  cade  rivereo) 

Soccorso!... 
Tosca 

(chinundosi  vereo  Scaipia) 

Ti  soffoca 
il  sangue?...  il  sangue?...  Muori!  muori!!  muorill! 

(vedendolo  Immobile) 

Ah!  d  morto!...  Or  gliperdonoL. 
E  avanti  a  lui  tremava  tutta  Roma! 

(Senza  abbandonare  cogli  occhi  il  cadavere.  Tosca  va  alia  tavola,  vi  depone  il  coltello, 
preude  una  bottiglia  d'acqna,  inzuppa  un  tovagliolo  e  ei  lava  le  dita:  poi  va  allo 
specchio  e  si  ravvia  i  capelli.  Quindi  cerca  11  salvacondotto  sullo  scrittoio:  nor  tro- 
vandolo,  si  volge  e  lo  scorge  nella  mano  raggrinzata  del  morto:  ne  toglie  il  foglio  e 
lo  nasconde  in  petto.  Spegne  il  candelabro  sulla  tavola  e  va  per  uecire,  ma  si  pentee 
vedendo  accesa  una  delle  candele  sullo  fcritttoio,  va  a  prenderla,  accende  Paltra,  e 
colloca  una  candela  a  destra  e  1'altra  a  sinietra  della  testa  di  Scarpia.  Alzandosi, 
cerca  di  nuovo  intorno  e  scorgendo  un  crocifieso  va  a  staccarlo  dalla  parete  e  portan- 
dolo  religiosamente  s'inginocchia  pea  posarlo  sul  p«tto  di  Scarpia  -  poi  ai  alza 
e  con  grande  precaozione  esce  rinchiudendo  dietro  a  se  la  porta). 


(Tosca,  between  Scarpia  and  the  table,  and  feariug  that  he  will  lay  hold  of  her,  thrusts 
him  roughly  from  her.  He  falls,  groaning  and  well  nigh  choked  by  bleed) 

Ah! 

Tosca 

(pitilessly) 

Are  you  stifling  with  blood? 

Scarpia 
Help  me  ! 

(struggles  ineffectually  to  rise,  clutching  at  the  sofa) 

I'm  dying ! 

Tosca 

And  done  to  death  by  a  woman  ! 
Say,  what  mercy  didst  thou  show  me? 
Canst  thou  still  hear  me  ? 

(Scarpia  makes  a  final  effort,  and  falls  backwards) 

Answer  !     Look  at  me  !     Scarpia,  I  am  Tosca  J 1 
Your  victims'  blood  chokes  you  ! 

(bending  over  Scarpia's  face) 

Die,  thou  accurst  one  1     Perish  ! 
Scarpia 

(all  but  voiceless) 

Ah! 

(expires) 

Tosca 

He  is  dead  !     Now  I  forgive  him  1 

rwithout  taking  her  eyes  off  Scarpia's  corpse,  she  goes  to  the  table,  dips  a  napkin  H 
the  water-jug,  and  washes  her  fingers;  thun  arranges  her  hair  before  the  looking 
glass.  Remembering  the  safe-conduct,  she  looks  for  it  on  the  desk,  and  not  finding  it, 
searches  elsewhere.  At  last  she  perceives  it,  clutc  .ed  in  the  clenched  fiugers  of 
Scarpia,  and  lifts  up  his  arm,  wbich  she  lets  fall,  stiff  and  stark,  when  she  has 
possecsed  herself  of  the  safe-conduct,  which  she  hides  in  her  bosom.  She  then 
constrains  herself  to  contemplate  Scarpia'a  dead  body;  she  extinguishes  the  lights 
on  the  supper-table,  and  is  about  to  leave  when,  peeing  one  of  the  candles  on  the 
desk  still  burning,  she  takes  it,  and  with  it  lights  the  other  candle) 

Tosca 

And,  yesterday,  trembling  Rome 
lay  prostrate  at  his  feet ! 

(places  one  candle  to  the  right  of  Scarpia's  head,  and  the  other  to  the  left;  again  looks 
round  her,  and  seeing  a  crucifix  hanging  on  the  wall,  takes  it  down  and,  kneeling, 
places  it  reverently  on  the  breast  of  the  corpse.  Roll  of  distant  drums,  ind  slow 
curtain.  Tosca  rises  and  departs  cautiously,  closing  the  door  tu^er  her) 


ATTO  TERZO 


La  piattaforma  di  Castel  Sant'Angelo. 

A  sinistra,  una  casamatta  :  vi  e  collocata  una  tavola,  sulla  quale  stanno 
una  lampada,  un  grosso  registro  e  1'occorrente  per  scrivere  :  una 
panca,  una  sedia.  Su  di  una  parete  della  casamatta  un  crocifisso  : 
davanti  a  questo  e  appesa  una  lampada.  A  destra,  1'apertura  di  una 
piccola  scala  per  la  quale  si  ascende  alia  piattaforma 

Nel  fondo  il  Vaticano  e  S.  Pieiro. 

fe  ancora  notte  :  a  poco  a  poco  la  luce  incerta  e  grigia  che  i  -recede  1'alba  : 
le  campane  delle  chiese  suonano  mattuttiuo.  La  voce  d'un  pastore 
che  guida  un  armento. 

(Un  Carceriere  con  una  lanterna  sale  dalla  scala,  va  alia  casama^ca  e  vi  accende  la 
lampada  sospesa  davanti  al  crocifigso,  poi  qnella  sulla  tavola  :  siede  ed  aspetta  mezzc 
assonnato.  Piii  tardi  un  picchetto,  comandato  da  un  Sergente  die  guardia,  sale  sulla 
piattaforma  accompagnando  Cavaradossi :  il  picchetto  si  arresta  ed  il  Sergente  con- 
duce Cavaradossi  uella  casamatta,  consegnando  un  f  oglio  al  Carceriere.  -  II  Carceriere 
esamina  il  foglio,  apre  il  registro  e  vi  scrive  mentre  interroga). 

IL  CAKCEBIEEE  -  CAVAEADOSSI  -  UN  SERGENTE  -  SOLDATI. 

Carceriere 

Mario  Cavaradossi? 

CararadogBi  china  il  capo,  assentendo.  II  Carceriere  porge  la  penna  al  Sergente) 

A  voi. 

(il  Sergente  firma  il  registro,  poi  parte  coi  soldati,  scendendo  per  la  scala) 
(a  Cavaradossi)    Vi  resta 

un'ora.  Un  sacerdote  i  vostri  cenni 
attende. 


ACT  III. 


Scene:  A  Platform  of  Castle  Sant.  Angelo. 
L. — A  casemate,  furnished  with  a  table  (on  which  stand  a  lautern,  a 
huge  register  book  and  writing  material^),  a  be  ch  and  a  stool. 
Suspended  to  one  of  the  walls,  a  crucifix  and  votive  lamp.  R.— A 
trap  door  opening  on  a  flight  of  steps  leadim.'  to  the  platform  from 
below.  The  Vatican  and  St.  Peter's  are  depicted  on  the  back 
cloth.  Night  time.  Clear  sky,  studded  with  stars.  Sheep  bells 
jangle  afar  off,  then  gradually  nearer  and  nearer. 


A  Shepherd 

(in  the  distance) 

Day  now  is  breaking, 

The  weary  world  awaking... 

(the  bells,  still  more  distant,  tinkle  irregularly) 

Lending  new  sorrow 

And  sadness  to  the  morrow. 

(the  tinkling  of  the  sheep  bells  dies  awa/  gradually) 

If  you  could  prize  me, 

To  live  I  might  try, 
But  if  you  despise  me, 

I  may  as  well  die  ! 

(a  ditn,  grey  light  heralds  the  approach  of  dawn) 

(Afar  off,  the  church  bells  begin  ringing  f  .r  matins.  Enter  jailer,  bearing  a  lantern.  He 
emergea  from  the  irap  door,  enters  the  casemate,  and  1'ghta,  firwt  the  lamp  suspended 
beneath  tlie  crucifix,  and  then  the  lauieru  standing  on  the  table.  Advancing  to  the 
parapet  of  the  plaiform  he  leans  over  it  and  looks  dow-n  into  the  courtyard  to  see  if 
the  tiring  party,  told  off  to  escort  the  condemned  man.  has  arrived.  Meeting  a 
sentry,  who  is  on  guard  within  i  he  precincts  of  theplaiform,  and  having  exchanged  a 
few  words  with  him,  the  jailer  returns  to  the  casemate,  wh«re  he  sits  down  and  waits, 
half  asleep.  An  infantry  picket,  comnundud  by  a  sergeant,  and  in  charge  of  Cava- 
radossi, ascends  to  the  platform.  The  men  are  halted,  and  I  he  sergeant  conducts 
Cavaradossi  to  the  casemate,  which  Ca  aradossi  enters.  The  jailer,  seeing  ihe 
sergeant,  rises  and  salutes,  wnereupon  the  sergeant  hands  him  a  paper,  which  the 
jailer  examines.  Then,  seating  himself  at  th  table,  the  jailer  opens  the  register 
book  and  writes  in  it  while  interrogating  Cavaradossi) 

Jailer 
Mario  Cavaradossi  ? 

(Cavaradossi  nods  affirmatively) 

Please  sign. 

(to  the  sergeant,  handing  him  the  pen.  The  sergeant  signs  the  register-book  and 
desends  the  steps,  followed  by  the  picket.  Bell) 

You  have  an  hour  ... 

(to  Cavaradosal) 

A  holy  father  is  nigh,  at  your  disposal  ... 


ATTO  TEBZO 

Cavaradossi 

No.  Ma  di  un' ultima  grazia 
vi  richiedo. 

Carceriere 

Se  posso... 

Cavaradossi 

Io  lascio  al  mondo 
una  persona  cara.  Consentite 
ch'io  le  scriva  un  sol  motto. 

(togliendosi  dal  dito  un  anello)    UniCO 

di  mia  ricchezza  e  questo 
anel...  Se  promettete 
di  consegnarle  il  mio 
ultimo  addio, 
esso  £  vostro... 

Carceriere 

'titnba  un  poco,  poi  accetta  e  facendo  cenno  a  Cavaradosii  di  sedere  alia  tavola,  va  t 
sedere  sulla  panca) 

Scrivete. 
Cavaradossi 

{ai  mette  a  scrfvere...  ma  dopo  tracciate  alcune  linee  e  invaso  dalle  rimembranze} 

E  lucevan  le  stelle  ed  olezzava 

la  terra  -  e  stridea  1'uscio 

dell'orto  -  e  un  passo  sfiorava  la  rena. 

Entrava  ella,  fragrante, 

mi  cadea  fra  le  braccia  e  mi  narrava 

di  se  ;  di  me  chiedea 

con  volubile  impero. 

Oh  !  dolci  baci,  o  languide  carezze, 

mentr'io  fremente 

le  belle  forme  disciogliea  dai  veli ! 

Svanl  per  sempre  il  bel  sogno  d'amore... 

L'ora  e  fuggita 

e  muoio  disperato !... 

E  non  ho  amato  mai  tanto  la  vita  I 

(scoppia  in  ainghiozzi). 


ACT  III. 

Cavaradossi 
No.     But  let  me  entreat  you  to  do  me  a  favour 

Jailer 
If  possible  ... 

Cavaradossi 

I  leave  behind  me  one  whom  I  cherish  fondly. 
Can  you  grant  me  leave  to  write  a  few 
words  to  her  ?     Nothing  is  left  of  all 
that  I  possessed  but  this  little  ring ... 

(takes  a  ring  off  his  finger) 

If  you  will  pledge  your  word  to  convey 
my  last  farewell  to  her  safely,  it  is  yours... 


Jailer 

(aft&r  a  little  hesitation,  accepts  the  ring,  and  signals  Cavaradossi  to  be  seated  at  the 
table) 

"Write  your  letter. 

(sits  down  on  the  bench.  Cavaradossi  is  lost  in  thought,  from  which  he  rouses  himself 
to  write.  After  tracing  a  few  lines,  engrossed  by  memories  of  the  past,  he  ceases 
writing) 

Cavaradossi 

(thinking  aloud) 

When  the  stars  were  brightly  shining 

And  faint  perfumes  the  air  pervaded, 
Creaked  the  gate  of  the  garden, 

And  a  footstep  its  precincts  invaded, 
'Twas  her's,  the  fragrant  creature, 
In  her  soft  arms  she  clasped  me 
With  sweetest  kisses,  tenderest  caresses, 
A  thing  of  beauty,  of  matchless  symmetry  in  form 

and  feature  1 
My  dream  of  love  is  now  dispelled  for  ever.' 

I  lived  uncaring, 

And  now  I  die  despairing  ! 
Yet  ne'er  was  life  so  dear  to  me,  no,  never  ' 


(Dalla  scala  viene  Spoletta  accompagnato  dal  Sergente  e  seguito  da  Toeca  :  il  Sergente 
porta  una  lanteraa  -  Spoletta  accenna  a  Tosca  ove  trovasi  Cavaradossi,  poi  cbiama 
a  so  il  Carceriere  :  con  quest!  e  col  Sergente  ridiscende,  non  eenza  avere  prima  dato 
ad  ana  sentinella,  che  eta  in  fondo,  1'ordine  di  sorvegliare  il  prigioniero). 

TOSCA  -  CAVARADOSSI. 

(Tosca  vetle  Cavaradossi  piangente,  colla  testa  fra  le  mani  :  gli  si  awicina  e  gli  solleva 
colle  due  mani  la  testa.  Cavaradossi  balza  in  piedi  sorpreso.  Tosca  gli  presenta  con- 
Tulaa  nn  foglio,  non  potendo  parlare  per  1'emozione). 

Cavaradossi 

(legge) 

-  franchigia  a  Floria  Tosca... 
Tosca 

(leggendo  insieme  con  lui  con  voce  affannosa  e  convulsa) 

e  al  cavalier  e 
che  r  accompagna.  — 

(a  Cavaradossi  con  un  grido  d'esultanza) 

Sei  libero ! 
Cavaradossi 

(guarda  il  foglio  ;  ne  legge  la  flrma) 

Scarpia !... 

Scarpia  benigno?  A  qual  prezzo?  la  prima 
sua  grazia  6  questa... 

Tosca 
E  Pulthna ! 

(riprende  il  salvacondotto  e  lo  ripone  in  una  borsa) 

Cavaradossi 

Chedici?... 

Tosca 

II  tuo  sangue  o  il  mio  amore 

volea.     Fur  vani  scongiuri  e  pianti. 

In  van,  pazza  d'orrore, 

alia  'Madonne  mi  volsi  ed  ai  Santi... 

Rideva  -  il  mostro  !  -  del  raio  martir  .' 

Dicea  :  gia  negli  oscuri 

cieli  i)  patibol  le  brae  ;i  leva  ! 

Rullavano  i  tamburi... 

Rideva,  1'empio  mostro...  risdeva... 

gi£  la  sua  preda  pronto  a  ghermir ! 


W  ACT  III. 

(bursts  into  tears,  covering  his  face  with  his  hands.  Enter  Spoletta  through  the  trap- 
door,  accompanied  by  Tosca  and  followed  by  the  sergeant,  who  carries  a  lantern. 
Spoletta  points  out  to  Tosca  where  she  will  flnil  Cavaradossi,  and  then  beckons  to 
the  jailer,  with  whom  and  the  sergeant  he  re-descends  the  steps,  not  without  hav- 
ing given  orders  to  a  sentry  on  guard  at  the  back  of  the  stage  to  keep  close  watch 
upon  the  prisoner.  Tosca,  who  meanwhile  has  been  manifestly  in  a  state  of 
violent  agitation,  sees  Cavaradossi  weeping,  rashes  up  to  him,  and— unable  to  speak 
for  sheer  emotion— lifts  his  head  with  both  hands,  showing  hi  01  the  safe -conduct. 
On  perceiving  her  he  starts  to  his  feet  in  surprise,  and  then  reads  the  document 
which  she  has  handed  to  him) 

All  !     Safe-conduct  to  Floria  Tosca 
and  to  the  gentleman,  her  companion. 

(in  unison  with  Tosca) 


Tosca 

(enthusiastically) 

Thou  art  free,  my  love  ! 

Cavaradossi 

(perceiving  the  signature  of  the  document) 

Scarpia  showed  mercy  ! 

(looking  intently  at  Tosca) 

Full  surely  his  first  concession  I... 
Tosca 

(puts  away  the  safe-conduct  in  her  bag) 

And  his  last  ! 

Cavaradossi 

What  say'st  thou  ?... 

Tosca 

He  exacted  thy  life  or  my  love  !... 

Entreaties  and  conjurations 
Were  vain.     The  saints  above 

Would  pay  no  heed  to  my  wild  invocations. 
He  said,  the  impious  monster,  "  Now  the 
gallows  tree  is  spreading  its  branches  gaily  I " 
The  muffled  drums  were  sounding... 
He  laughed,  the  impious  monster,  laughed  loudly, 
hovering  round  his  quivering  prey  !... 
"  Art  mine,  then  ?  "    "  Yes  ! " 


ATTO  TERZ0 


"  Sei  raia  ?  "  -  SI.  -  Alia  sua  brama 

mi  promisi.  LI  presso 

luccicava  una  lama... 

Ei  scrisse  il  foglio  liberator, 

venne  all'orrendo  amplesso... 

lo  quella  lama  gli  piantai  nel  cor. 

Cavaradossi 

Tu  ?...  di  tua  man  1'uccidesti !  -  tu  pia, 
tu  benigna  -  e  per  me  ! 
Tosca 

N'ebbi  le  mani 
tutte  lorde  di  sangue  !... 

Cavaradossi 

(prendendo  amorosamente  fra  le  sue  le  mani  di  Toeca) 

Oh !  salvatrice  ! 
O  dolci  mani  mansuete  e  pure 
o  mani  elette  a  belle  opre  e  pietose, 
a  carezzar  fanciulli,  a  coglier  rose, 
a  pregar,  giunte,  per  1'altrui  sventure, 
dunque  in  voi,  fatte  dall'amor  secure, 
giustizia  le  sue  sacre  armi  depose  ? 
Voi  deste  morte,  o  man  vittoriiose, 

0  dolci  mani  mansuete  e  pure  !... 

Tosca 

(svincolando  le  mani) 

Senti...  1'ora  e  vicina ;  io  gia  raccolsi 

(mostrando  la  borsa) 

ore  e  gioielli...  una  vettura  e  pronta. 
Ma  prima, ..  ridi  amor...  pritna  sarai 
f  ucilato  —  per  finta  —  ad  armi  scariche.  -= 
Simulate  supplizio.  Al  colpo...  cadi. 

1  soldati  sen  vanno  -  e  noi  siam  salvi ! 
Poscia  a  Civitavecchia...  una  tartana... 
e  via  pel  mar  ! 

Cavaradossi 
Liberi ! 
Tosca 

Chi  si  duole 

in  terra  piii  ?  Senti  effluvi  di  rose  ?... 
Non  ti  par  che  le  cose 
aspettan  tutte  innamorate  il  sole  ?.. 


ACT  1IL  tl 

Thus  I  avowed  myself  defeated. 

He  did  not  see  the  knife  I  had  secreted... 

He  signed  the  permit  that  sets  thee  free, 

and  gives  us  license  to  depart... 
The  glittering  blade  I  drove  into  his  heart ! 

Cavaradossi 
Thou? 

With  thine  own  hand  didst  thou  slay  him  ? 
Thou,  most  pious  and  merciful  of  souls  I 

Tosca 

Yes ;  both  these  hands 

with  his  hot  blood  were  reeking  !... 

Cavaradossi 

(taking  her  hands  lovingly  in  his  own) 

Oh  !  gentle  hands,  so  pitiful  and  tender  ; 
Soft  hands,  designed  to  deck  luxuriant  tresses 
With  fragrant  rosebuds,  to  bestow  caresses, 
And  pray  for  Heaven's  grace  to  the  offender, 
To  you  the  Fates,  grim  ministers  of  death,  surrender; 
Th'impassive  steel  that  base  injustice  represses. 
By  you  was  dealt  the  blow  that  tyranny  suppresses 
Oh  !  gentle  hands,  so  delicate  and  tender  1 

Tosca 

(freeing  her  hands  from  his  grasp) 

Listen...  all  now  is  ready;  o»hows  a  hand-bap) 

I  have  collected  my  jewels  and  money... 

a  carriage  is  in  waiting...  But  first — smile, 

dearest  love — you  must  submit  to  be  fired  at... 

In  pretence,  of  course,  arid  with  blank 

cartridges...  a  mere  mimic  execution. 

When  they  fire,  fall  down.    Then  the  soldiers 

will  retire...  We  shall  be  safe  then  J 

Once  in  Civitavecchia — 

aboard  of  a  lugger,  and  off  to  sea  J 

Cavaradossi 
We  are  free  1 

Tosca 

Free  are  we  I 


Cavaradossi 

(colla  piil  tenera  commozione) 

Amaro  sol  per  te  m'era  il  morire 
Da  te  prende  la  vita  ogni  splendore, 
all'esser  mio  la  gioia  ed  il  desire 
nascon  di  te,  come  di  fiamma  ardore. 
to  folgorare  i  cieli  e  scolorire 
vedro  nell'occhio  tuo  rivelatore, 
e  la  belta  delle  cose  piti  mire 
avra  solo  da  te  voce  e  colore. 

Tosca 

Amor  che  seppe  a  te  vita  serbare 
ci  sari  guida  in  terra,  in  mar  nocchiere 
e  vago  fara  il  mondo  a  riguardare. 
Finch  e  congiunti  alle  celesti  sfere 
dileguerem,  siccome  alte  sul  mare 
a  sol  cadente,  nuvole  leggere! 

•isnangono  cornmogsi,  eilenziosi-  poi  Tosca,  chiamata  dalla  realta  delle  cose,  sJ  gnardc 
tuornoinquieta) 

E  non  giungono... 

(si  volge  a  Cavaradossi  con  premurosa  tenerezza) 

Bada!... 

al  colpo  egli  e  mestiere 
che  tu  subito  cada 
per  morto. 

Cavaradossi 

(la  raseicura) 

Non  temere 
che  cadro  sul  momento  —  e  al  naturale. 

Tosca 

(insistendo) 

Ma  stammi  attento  -  di  non  farti  male! 
Con  scenica  sc'ienza 
io  saprei  la  movenza... 

Cavaradossi 

(la  interrompr,  atlirandola  a  so) 

Parlami  ancor  come  dianzi  parlavi, 
&  cosl  dolce  il  suon  della  tua  voce! 


ACT  III. 

Cavaradossi 

Free  are  we  1 

Tosca 

Free  and  happy  we  shall  be  !... 
Dost  thou  smell  the  scent  of  roses  ? 
Nature  silently  reposes 
While  dawn  the  secrets  of  night  discloses. 

Cavaradossi 

The  sting  of  death  I  only  felt  for  thee,  love  ; 

From  thee  my  life  took  all  its  pride  and  pleasure 
The  world  without  thee  had  been  nought 

to  me,  love, 

Thou  wert  my  joy,  my  glory,  and  my  treasure. 
The  brightening  of  the  skies,  and  eke 

their  darkening, 

In  thy  refulgent  eyes  will  be  reflected, 
Sweet  sounds  will  reach  mine  ears  when  thou 

art  hearkening, 
Just  as  thou  art,  so  shall  1  be,  joyous  or  dejected 

Tosca 

And  Love,  to  whom  is  due  thy  life's  redemption, 

Will  be  our  guide  on  land,  out  pilot  on  the  ocean 
Peace  shall  be  ours,  from  worldly  cares  exemption, 
Until,  united  in  some  sphere  celestial, 

Fluttering  like  fleecy  clouds  ever  in  motion 

(she  gazes  fixedly,  as  though  seeing  a  vision) 

We  shall  soar  high  above  the  globe  terrestrial 

(recalled  to  the  realities  of  the  situation,  she  looks  around  uneasily) 

And  they  come  not ! 

(to  Cavaradossi  with  anxious  tenderness) 

Remember  that  you  must  fall  on  the 
instant  at  which  the  soldiers  fire  !... 

Cavaradossi 

(sadly) 

Do  not  fear,  love.     I  shall  fall  at  the 
rJjcrht  moment,  and  q.uHe  correctly. 


ATTO  TERZO 


Tosca 

(si  abbandona  quasi  estasiata,  quindi  a  poco  a  poco  accalorandosl) 

Uniti  ed  esulanti 

diffonderan  pel  mondo  i  nostri  amori 

annonie  di  colori... 

Cavaradossi 

(esaltandosi) 

ed  armonie  di  canti ! 

Tosca  -  Cavaradossi 

(con  grande  entusiasmo) 

Sparve  il  duol 
la  sitibonda 
anima  inonda 
celestiale 
crescente  ardor. 
In  armonico  vol 
1'anima  sale 
ail'estasi  d'amor. 

Tosca 

La  patria  e  la  dove  amor  ci  conduce. 

Cavaradossi 

Per  tutto  troverem  1'orme  latine 
e  il  fantasma  di  Roma. 

Tosca 

E  s'io  ti  veda 

memorando  guardar  lungi  ne'  cieli, 
gli  occhi  ti  clriudero  con  mille  baci 
e  mille  ti  dird  nomi  d'amore. 

(Frattanto  dallo  scaletta  e  salito  un  drappcllo  di  soldati :  lo  comanda  un  Ufficiale,  »J 
quale  schiera  i  eoldati  nel  fondo:  seguono  Spoletta,  il  Sergente,  il  Carceriere.  -  Spo- 
letta  da  le  neceesari  istruzioni.  II  cielo  si  fa  piu  luminoBO  ;  d  1'alba:  suonano  le  4. 
II  Carcoriere  si  avvicina  a  Cavaradoasi  e  togliendosi  il  berretto  gli  indica  1'Ufficiale). 

Carceriere 
L'ora! 

Cavaradossi 

Son  pronto. 

(II  Carceriere  prende  II  regietro  del  condannati  e  parte  dalla  scaletta) 


ACT  IIL 


Tosca 

(insisting) 

But  pay  attention  ;  take  care  not  to 
hurt  yourself !     Tis  only  a  stage-trick ; 
I  should  know  how  to  do  it... 

Cavaradossi 

(interrupting,  draws  her  towards  him) 

Speak  once  again  of  thyself,  of  thy  lover,  who 
listens  to  thy  dulcet  accents  with  rapture  1 

Tosca 

(estatically) 

When  once  we  shall  be  free,  how 

joyously  we  will  wander  through  a  world  radiant, 

harmonious,  sublime — the  planet  of  love  !... 

Together 

(in  unison) 

Farewell,  pain  ! 
Kvcry  feeling 
Now  is  revealing 

Heavenly  bliss  and  perfect  joy... 
Our  cares  were  idle  and  vaic 
Now  gladness  is  ours 
Gladness  without  alloy ! 

(Enter,  through  the  trap-door,  a  firing  party  of  soldiers,  commanded  by  an  officer,  whc 
parades  it  at  the  back  of  the  stage,  Spoletta,  the  sergeant,  and  the  jailer  follow  hiia 
Spoletta  imparts  the  necessary  instructions.  The  sky  brightens  ;  day  is  dawning.) 

Tosca 

'iliine  eyes  I'll  fondly  close  with  countless  kisses, 
and  loving  words  I'll  whisper  in  thine  ears... 

Jailer 
Tour  time  is  come  1 

(approaches  Cavaradossi  and  points  to  the  officer,  taking  off  his  cap  ;  then  picks  up  the 
register  of  condemned  prisoners,  and  exit  t  hrough  trap-door.  The  church  clocks 
strike  4  a.m.) 

Cavaradossi 
I'm  ready .' 


Tosca 

(a  Cavaradossi,  con  voce  bassissima  e  ridendo  di  eoppiatto) 

(Tieni  a  mente:  al  primo 
colpo,  giii...) 

Cavaradossi 

(sottovoce,  ridendo  esso  pure) 

(Giu). 

Tosca 

(N6  rialzarti  innanzi 
ch'io  ti  chiami). 

Cavaradossi 

(No,  am  ore  I) 

Tosca 

(E  cadi  bene). 

Cavaradossi 

(Come  la  Tosca  in  teatro). 

Tosca 

(Non  ridere...) 

Cavaradossi 

(facendosi  capo) 

(Cosi?) 

Tosca 

(Cosi). 

.Cavaradossi  segue  V  Ufflciale  dopo  aver  salutato  Tosca,  la  qnale  si  colloca  a  sinistra 
nelia  casamatta,  in  modo  perd  di  poter  spiare  qnanto  succede  sulla  piattaforma. 
Esea  vede  1'Officiale  ed  il  Sergente  che  conducono  Cavarados-si  presso  al  muro  di 
faccia  a  lei:  il  Sergente  vuol  porre  la  benda  agli  occhi  di  Cavaradoesi:  questi, 
sorridendo,  rifluta.  -  Tali  lugubri  preparativi  stancano  la  pazienza  di  Tosca). 

Tosca 

Com'e  lunga  1'attesa! 

Perche  indugiano  ancor?...     Gia  sorge  il  sole... 
Perche  indugiano  ancora  ?...  e  una  commedia, 

10  so...  ma  questa  angoscia  eterna  pare!... 

jTTJfflciale  e  il  Sergente  dispongono  il  pelottone  dei  soldati,  impartendo  gli  ordini  relatil*' 

Ecco!...  apprestano  1'armi...  com'e  bello 

11  mio  Mario!... 


ACT  ra. ' 
Tosca 

(in  a  low  voice,  suppressing  her  laughter) 

Now  remember...  as  soon  as  they  fire...  down  J 
Cavaradossi 

(speaking  under  his  breath,  and  laughing) 

Down  ! 

Tosca 
On  no  account  must  you  rise  until  1  call  you. 

Cavaradossi 

No,  beloved. 

Tosca 

And  fall  down  lightly. 

Cavaradossi 

Just  lik«>  La  Tosca  on  the  stage. 

Tosca 

(seeing  him  smile) 

Tou  must  not  laugh... 


Like  this  ? 


Cavaradossi 

(gravely) 

Tosca 

Like  that. 

(Ctvaradossi  follows  the  officer  after  having  taken  leave  of  Tosca,  who  remains  la  tht 
casemate,  taking  up  a  position  //.,  from  which  she  can  see  what  takes  place  OB.  the 
platform) 

Tosca 

(watching  the  officer  and  sergeant,  who  leads  Cavaradossi  up  to  the  wall  facing  SMT) 

This  delay  is  vexatious  ! 

What  are  they  waiting  for  now  ?... 

The  sun  is  now  rising... 

*JThe  sergeant  offers  to  bandage  Cavaradossi's  eyes  ;  smiling,  Cavaradoesl 
These  lugubrious  preliminaries  weary  Tosca's  patience) 

'Tis  but  a  farce  I  know... 
Yet  this  anxiety  is  dreadful  I... 


ATTO  TERZO 


vedendo  1'Ufficiale  clie  eta  per  abbassare  la  sciabola,  si  porta  le  mani  agli  orecchi  per 
non  ndire  la  detonazione  ;  poi  fa  cenno  colla  testa  a  Cavaradossi  di  cadere,  dicendo.> 

L&  !  muori! 

(vedendolo  a  terra  gli  invla  colle  mani  un  bacio) 

Ecco  un  artista!... 

(B  Sergente  si  avvicina  al  cadnto  e  lo  osserva  attentamente :  Spoletta  pure  si  e"  awicL 
nato;  allontana  il  Sergente  impedendogli  di  dare  il  colpo  di  grazia,  quindi  copre  Ca- 
varadossi con  un  mantello.  L'Ufficiale  allinea  i  soldati-  il  Sergente  ritira  la  senti 
nella  che  sta  in  fondo,  poi  tntti,  predecnti  da  Spoletta,  scendono  la  scala.  Tosca  d 
agitatissima:  essa  sorveglia  questi  movimenti  temendo  che  Cavaradossi,  per  impa- 
zienza,  si  muova  o  parli  priiua  del  momento  opportano). 

(a  voce  repressa  verso  Cavaradosei) 

O  Mario,  non  ti  muovere... 

Ma  gia  s'avviano...  taci!  vanno...  scendono. 

(vista  deneri a  la  piattaforma,  va  ad  ascoltare  presso  1'imbocco  della  scaletta:  vi  si  ar 
resta  trepidante,  aflannosa  parendole  ad  un  tratto  che  i  soldati,  anziche  allontanant, 
ritornino  sulla  piattaforma  -  di  nuovo  sivolge  a  Cavaradossi,  con  voce  baesa) 

Aneora  non  ti  muovere... 

ascolta  -  si  sono  tutti  allontanati,  va  al  parapetto  e  cantamente  sporgendosi,  osservo 

di  eotto) 

Or  varcano  il  cortile... 

(corre  verso  Cavaradossi) 

Mario,  su,  presto  !  Andiamo!...  andiamo!...  Su! 

{•i  china  per  alutare  Cavaradossi  a  rialzarsi:  a  un  tratto  da  un  grido  suffocate  di  ter« 
rore,  di  sorpresa  e  si  guarda  le  mani  colle  quali  ha  sollevato  il  mantello) 

Del  eangue  ?! 

(si  inginocchia,  toglie  rapidamente  il  mantello  e  balza  in  piedi  livida,  atterlta) 

Morto!...  mortol... 

(con  imposte  parole,  con  sospiri,  singhiozzi  si  butta  sul  corpo  di  Cavaradossi,  quasi 
non  credendo  aH'orribll  destino) 

O  Mario...  raorto  ?  tu  ?  cosi  ?  Finire 
cosl  ?...  cosl  ?...  povera  Floria  tua! ! 

Mtanto  dal  cortile  al  disotto  del  parapetto  e  su  dalla  piccola  scala  arrivano  prima  con- 
fuse, poi  sempre  piu  vicine  le  voci  di  Sclarrone,  di  Spoletta  e  di  alcnni  soldati) 


La  voce  di  Sciarrone 

Vi  dico,  pugnalato! 


^Tbe  officer  and  sergeant  draw  ap  the  firing-party  in  readiness  for  the  word  of  command) 

At  last !  they  are  priming  their  muskets. 

(seeing  that  the  officer  is  about  to  lower  his  sword,  she  stops  her  ears  with  her  hands  in 
order  not  to  hear  the  explosion,  and  nods  to  Cavaradossi  as  a  signal  that  he  is  to  fall) 

How  handsome  is  my  Mario  ! 

<The  officer  lowers  h  s  sword,  and  the  soldiers  fire) 

There  !     Die  now ! 

(seeing  Cavaradossi  prostrate,  she  kisses  her  hand  to  himi 

How  well  he  acts  it ! 

(The  sergeant  inspec  s  the  body  carefully.  Spoletta  hinders  him  from  giving  the 
customary  coup  de  grace.  The  officer  ranges  his  men  in  single  file,  the  sergeant 
relle  e«  the  sentry  C.,  and  the  whule  party,  preceded  by  Spoletta,  passes  through 
the  trap-door  and  down  the  steps.  Tosca  has  watched  their  every  movement 
anxiously,  fearing  that  Cavaradossi  may  lose  patience,  and  move  or  speak  pre- 
maturely) 

Oh  !  Mario,  do  not  move  yet... 
lie  quietly  ...  silence  J 

(when  they  had  left  the  platform,  she  runs  to  the  trap-door  and  stands  by  it  listening  is 
violent  trepidation) 

They  are  going...  going  down...  down  ! 

(fancying  that  she  hears  the  soldiers  returning  to  the  platform,  she  turns  again  to 
Cavaradossi) 

Not  yet,  I  prithee...  move  not  yet... 

(she  leans  cautiously  over  the  parapet,  looking  downward) 

Now  get  up ! 

(again  approaching  Cavaradossi) 

Mario  !     Up  quickly  !     Away  1 

(touching  him) 

Up  1  up  I  Mario  ! 

(uncovering  the  corpse) 
Ah  1    •'desperately)   Murdered  ! 

Oh  1  Mario  ;  murdered ! 

(sighing  and  sobbing) 

Thou  ?...  and  thus  ?... 

(throwing  herself  upon  the  body) 

That  thou  should st  end  thus  1 

(agonized  by  grief) 

What  shall  become  of  Floria  ? 

Beloved  Mario,  what  is  life  without  thee  ? 

(embracing  the  body) 

Thou  1  murdered ! 

Outcries  of  Spoletta,  Sciarrone,  Soldiers,  &c.,  are  heard  afar  off  beneath  the  stage.) 

Sciarrone 
I  tell  you,  stabbed  to  death  1 


Voci  confuse 

Scarpia  ?... 

La  voce  di  Sciarrone 

Scarpia. 

La  voce  di  Spoletta 
La,  donna  e  Toscal 

Varie  voci  piu  vicine 

Che  non  sfugga! 

La  voce  di  Spoletta 

(pill  vicina) 

Attenti 
la  -  allo  sbocco  delle  scale... 

Spoletta  apparisce  dt.ua  scala,  mentre  Sciarrone  dietro  a  lui  gli  grida  additando  Tosca, 

Elei! 
Spoletta 

(gettandosi  su  Toeca) 

Ah!    Tosca,  pagherai 
ben  cara  la  sua  vita... 

Tosca  balza  In  piedi  e  invece  di  sf  uggire  Spoletta,  lo  respinge  violentemente,  riep.  - 
dendogli:) 

Tosca 

Colla  mia! 

-all'urto  inaspettato  Spoletta  da  addietro  e  Tosca  rapida  gli  sfugge,  passa  avantf  « 
Sciarrone  ancora  sulla  ecala  e  correndo  al  parapetto  si  getta  nel  vuoto  gridando:^ 

O  Scarpia,  avanti  a  DioL.    Avanti  a  Dio! 

'Sciarrone  ed  alcuni  soldati,  ealiti  confusaircntc,  corrono  al  parapetto  e  guaraaa* 
gin.    Spoletta  rimane  esterretatto,  allibito). 


Spoletta  and  Chorus 

Scarpia  ? 

Sciarrone 

Scarpia  ? 

Tosca 

(weeping) 

Mario  !       What  shall  become  of  Floria  ? 

Spoletta 
'Twas  Tosca  killed  him  1 

(approaching  closer  and  closer) 

Sciarrone  and  Chorus 

She  must  not  escape  ! 

Keep  watch  on  the  foot  of  the  staircase  I 

(Tostja,  weepinp  bitterly,  falls  upom  Cavaradresi's  corpse.  Great  noJae  under  the  <nagt 
Spoierta  and  Sciarrone  issue  from  the  trap-door) 

Sciarrone 

(pointing  out  Tosca  to  Spoletta) 

'Tisshe! 

Spoletta 

Ah !  Tosca,  thou  shall  pay  full  dearly  for  his  life.., 

(rushes  at  Toeca,  who  thrusts  him  back  so  violently  that  he  all  but  falls  prostrate.  8n« 
then  springs  upon  the  parapet  of  the  terrace) 

Tosca 

With  my  own  !...  Oh  !  Scarpia, 
we  shall  meet  on  High  !... 

throws  herself  into  space.  Sciarrone  and  the  soldiers  emerge  from  the  staircase  IB 
confusion,  rush  to  the  parapet  and  lean  over  it,  looking  downward.  Spoletta,  horror* 
stricken,  remains  stationary.) 

QUICK  CURTAIN. 
FINIS. 


Just  Issued 

THE  MODERN  BARITONE  OPERATIC  ALBUM 

(With  the  Original  and  English  Texts) 


9. 
10. 
11. 
12. 

13. 
14. 
15. 
16. 
17. 
18. 
19. 
20. 

21. 
22. 
23. 

24. 

25. 
26. 
27. 
28. 
29. 


Containing  Thirty  Arias  from  Famous  Modern  Operas,  as  Follows: 


Ballo  in  Maschera,  Un 

Barbiere  di  Siviglia,  II 
Don  Carlos 

Don  Giovanni  

Due  Foscari,  I 


Ernani 

Falstaff    

Figliuol    Prodigo,    II 

Forza  del  Destine,  La 


Germania    

Gianni    Schicchi 
Gioconda,  La  


Macbeth     

Nerone    


Otello 


Rigoletto    


Simon   Boccanegra 

Tabarro,    II  

Tannhauser   

Tosca  

Traviata,    La 


30.     Trovatore,  II 


Alia  vita  die  t'  arride    (Brightest  hope  and   fairest  pleasure) 

Eri  tu  che  macchiavi  (It  was  thou  the  destroyer) 

Largo  al   factotum    (Hey,   for  the  town's   factotum  so   rare) 

Ella  giammai  m' amo  (No!  she  has  never  lov'd  me) 

Per  me  giunto  e  il  di  supremo  ('Tis  that  day  I  so  long  awaited) 

Deh,  vieni  alia  finestra  (Come,  open  wide  your  window) 

Questa    dunque    e    1'  iniqua    mercede    (So    my    valor    and    my 

victories  are  crowned) 

Oh,  de'  verd'  anni  miei    (Fair  hours  of  youth  and  pleasure) 
Quand'  ero  paggio  (When  I  was  page) 
Raccogli  e  calma  (Calmy,  serenely) 

Son  Pereda,  son  ricco  d'  onore  (I,  Pereda,  for  honor  am  fated) 
Urna  fatale  del  mio  destine   (111  omen'd  coffer  that  holds  my 

secret) 

Ferito,  prigioner    (I'm  prisoner  and  wounded) 
Ascolta!  .  .  .  lo  moriro  (Oh!  hear  me!  ...  Now  I  must  dieL) 
Ah!  che  zucconi !    (Oh!   foolish  blockheads!) 
O  monumento!    (O  mighty  monument!) 
Pescator,  affonda  1'  esca   (Fisherman,  thy  bait  now  lower) 
Pieta,  rispetto,  amore    (Compassion,  love  and  kindness) 
Vivete  in  pace  (Abide  in  peace) 
Laggiu  fra  i  giunchi  di  Genesareth  (Behold  the  marshes  of 

Genesareth) 
Credo  (Credo) 

Era  la  notte  (I  lay  with  Cassio) 
Pari  siamo   (Ours  are  like  gifts) 

Cortigiani,  vil  razza  dannata    (Hated  courtiers,  accursed,  de- 
tested) 

II  lacerate  spirito  (The  broken  spirit) 
Nulla!  Silenzio!   (No  one!  All  is  silent!) 
Wie  Todesahnung    (Like  death's  grim  shadow) 
Se  la  giurata  fede  (No,  if  my  plighted  fealty) 
Di  Provenza  il  mar  e  il  suol    (Who  has  banished  from  your 

heart) 
II   balen  del  suo  soriso    (Ah!   could  I  behold   those  glances) 


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Sele. 


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Piano  Selections,  arr.  by  C.  Godfrey,  Jr 65  net 

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Just  Issue 


THE  MODERN  TENOR  OPERATIC  ALBU 

(With  the  Original  and  English  texts) 
Containing  Forty-six  Arias  from  famous  Modern  Operas,  as  follows: 


1.  Africana,  L'  

2.  Aida  

3.  Angelas,  The 

4.  Anima  Allegra  

5.  Boheme,  La  

6.  "  

7.  Elisir  d'Amore,  L' 

8.  Don  Pasquale — 

9.  Falstaff     

10.  Faust    - 

11.  Germania     - 

12.  " 

13.  Gianni  Schicchi  ..... 

14.  Gioconda,  La 

15.  Girl  of  the 
Golden  West,  The 

16.  " 

17.  Iris    

18.  Lohengrin   -.~ 

19.  «  

20!  Loreley    - — 

21.  Madam    Butterfly 

22.  "  "     ' 

23.  Manon  Lescaut  _..- 

k     ••         ••     

25.  "  *       — 

26.  Martha 

27.  Mefistofele  

28.  " 

29!  Nerone     '-..'.. 

30.  " 

31.  Otello 

32.  "         

33.  Rigoletto     - 

34.  "  

35.  Tabarro,  II 

36.  Tosca    

37.  "         

38.  Traviata,  La  

Trovatore,  II 


43.  Turandot     .... 

44. 

45.  Villi,  Le  

46.  Wally,  La  .... 


O  Paradiso!   (Oh!  land  entrancing) 

Celeste  Aida!     (Heavenly  Aidal) 

The  Elixir  Song  (Lies  in  my  hand  the  herb) 

E  arrivata  Primavera  ad  Alminar  (The  Spring  has  come  to  Alminar) 

Che  gelida  manina  (Your  tiny  hand  is  frozen) 

Mimi  e  una  civetta  (Mimi's  a  heartless  maiden) 

Una  furtiva  lagrima  (Down  her  pale  cheek) 

Com'  e  gentil  (How  pure  the  air) 

Dal  labbro  il  canto  (From  fervid  lips) 

Salut  demeure  chaste  et  pure    (All  hail,  abode  so  pure  and  lowly) 

Studentil  Udite!  o  voi   (Ye  Students  and  comrades  old  and  new) 

No,  non  chiuder  gli  occhi  yaghi    (Tell  thy  lover  all  thou  fearest) 

Avete  torto  !    (No,  you're  mistaken  1) 

Cielo  e  mar  1  ( Heaven  and  Ocean  I ) 

Ch'ella  mi  creda  (Let  her  believe) 

Or  son  sei  mesi  che  mio  padre  mori  (My  father  died  just  six  months 

ago) 

Apri  la  tua  finestra   (Open  thy  window,  maiden) 
Lohengrin's  Narration  (In  Far-off  land) 
Lohengrin's  Farewell  (Beloved  swan)  _ 
Nel  verde  maggio  (Once  in  the  May  time) 
Amore  a  grille  (Love  or  Fancy) 
Addio  fiorito  asil  (Farewell,  O  happy  home) 
Donna  non  vidi  mai  (Never  did  I  behold  so  fair  a  maiden) 
Tra  voi  belle  (Now,  among  you) 
Guardate,  pazzo  son  (Behold  me,  I  am  mad) 
M'appari  tutt' amor  (Soft  and  pure,  fraught  with  love) 
Dai  campi,  dai  prati  (From  the  fields,  from  the  groves) 
Giunto  sul  passo  estremo  (Nearing  the  extreme  limit) 
Queste  ad  un  lido  fatal  .  .  .    (Far  from  the  scene  of  my  crime) 
Ecco:  la  Dea  si  china  .  .  .   (Behold,  the  Goddess  unbendeth) 
Dio!  mi  potevi  scagliar    (Heaven,  had  it  pleased  thee  to  try  me) 
Ora  e  per  sempre  addio  (And  now,  forever  farewell) 
La  donna  e  mobile  (Woman's  a  fickle  jade) 
Questa  a  quella  (When  a  charmer) 
Hai  ben  ragione  (Yes,  you  are  right) 
Racondita  armonia  (Strange  harmony  of  contrasts) 
E  lucevan  le  stelle  (When  the  stars  were  brightly  shining) 
De'  miei  bollenti  spiriti   (Far  from  the  world  of  fashion) 
Ah!  che  la  morte  (Ah!  I  have  sighed) 
Ah,  si!  ben  mio  (Ah!  yes,  thou'rt  mine) 
Deserto  sulla  terra   (Lonely  I  wander) 
Di  quella  pira  (Strike  down  the  dead  pyre) 
Non  piangere  Liu   (O  weep  no  more,  Liu) 
Nessun  dorma   (None  shall  sleep  tonight) 
Torna  ai  felici  di   (Back  to  the  vanished  years) 
M'hai  salvato   (You  that  saved  me) 


Clearly  printed  in  the  original  keys  from  engraved  plates  and 
strongly  bound  in  Green  Linen  Cloth  with  Gilt  Lettering 


1 


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Just  Issued 


THE   MODERN  SOPRANO  OPERATIC  ALBUM 

(With  the  Original  and  English  texts) 


Containing  Thirty-two  Arias  from  famous  Modern  Operas,  as  follows: 


1.  Aida    .............  ________ 

2.  ..........  —    ........ 

3.  Ballo  in  Maschera,  Un 

4.  Boheme,  La.  - 


7.  Falstaff  .................  -- 

8.  Gianni  Schicchi  ................. 

9.  Gioconda,  La  --- 


Ritorna  vincitor   (May  laurels  crown  thy  brow) 

O  Patria  mia  (Thy  native  land) 

Saper  vorreste  (If  you  are  asking) 

Si  mi  chiamano  Mimi   (They  call  me  Mimi) 

Quando  m'en  vo  soletta  (As  thro'  the  streets) 

Donde  lieta  (To  the  Home  that  she  left) 

Sul  fil  d'un  soffio  etesio  (From  sweet  covers  and  bowers) 

O  mio  babbino  caro  (Oh!  my  beloved  daddy) 

Suicidio  (Ahl  suicide) 


Univ 
S( 
I 


10.  Girl  of  the  Golden 

West,  The  

11.  Iris  


12.  Lohengrin 

13.  Madam  Butterfly  — 

14.  " 

15.  *  "         — 

16.  Manon  Lescaut  

17.  "  " 

18.  Mefistofele    ... 


Universi 

South 

Libri 


26.  Traviata,   La  — 

27.  Trovatore,  II  - 

28.  "  

29.  Turandot   

32.  Wally,   La 


Oh,  se  sapeste  (Oh!  you've  no  notion) 

Leggenda:  Un  di  ero  piccina  (Once  in  my  ch' 

Sogno  di  Elsa  (Elsa's  Dream) 

Un  bel  di  vedremo  (One  fine  day) 

Ancora  un  passo   (Butterfly's  entrance) 

Che  tua  madre   (That  your  mother  should  tak' 

In  quelle  trine  morbide  (In  those  soft  silken  curtains) 

L'ora,  o  Tirsi,  e  vaga  e  bella  (These  are  hours  of  joy  creating) 

L'altra  notte  in  fondo  al  mare  (Last  night  in  the  deep  se<v 

A  notte  cuga  .  .  .  (When  night  has  fallen) 

Invan  mi  danni   (Thy  sentence  is  useless) 

Sake  (Willow  song) 

Ave  Maria 

Caro  nome   (Dearest  name) 

Vissi  d'arfe,  vissi  d'amore   (Love  and  music) 

Non  la  sospiri  (In  secret,  hidden  from  care) 

Ah  forse  e  lui  che  1'anima   (Can  it  be  he  whose  image   fair?) 

Tacea  la  notte  placida   (Twas  night  and  all  around  was  still) 

D'amor  sull'  ali  rosee   (Breeze  of  the  night) 

Signore  ascolta   (Oh!  I  entreat  thee,  Sire!) 

In  questa  reggia   (Within  this  Palace)  t 

Tu  che  di  gel  sei  cinla  (Thou  who  with  ice  art  girdled) 

Ebben?     Ne  andro  lontana  (Farewell  to  my  home) 


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